Environment

1. Environment

2. This is the last project you will ever do here in this environment, but don’t be frightened by that thought. It’s your chance to really shine. Build on everything you ever learnt about art, everything you wanted to do and didn’t do yet and Stretch your artistic muscles and prove yourself. There’s no time like the present. (Show off as much as possible. It’s going to be brilliant).

3. THINKING THINKING Look at these fella’s talking about ideas. Stay with them and listen because their saying what we need to hear. The Köln Concert - Keith Jarrett BRAIN STORM BLUE SKY THINKING Creative thinking - how to get out of the box and generate ideas: Giovanni Corazza at TEDxRoma Vera Brandes Give it a go. Thinking on your feet. Keith Jarrett / Music.Robert Rauschenberg / Art.They make work from a starting point of not knowing. They get on with it and make something. They both respond to their environment. Tim Harford: How frustration can make us more creative A result of consequences and environment

4. Iosif Kiraly Iosif Kiraly @ 18th Street Art Center Watch this Task 1

5. IosifKiralymakeS his photographs over long periods of time.He revisits sights time after time. Taking more and more photographs that he then uses to make a finished work. Over the course of a week you are to: • Pick a location and photograph it. • Think about the evidence of your chosen environment and the traces that show it’s used by people. • How does your environment shape you? • The Bauhaus and Black Mountain College are just two Art Schools / environments that have huge influence on the people who attended them. Photograph Assemblies, Lunch time ques, classrooms Include visual clues that the space you are photo Revisiting environments. Documenting via photographs. Iosif Kiraly

6. Iosif Kiraly Once you’ve taken your photographs you need to print them A4. Tape the photographs together in the manner of Iosif Kerlay in order to use them as the basis for a monoprint. This is the part were everyone is going to be ambitious from the very start. Lets thing BIG! Not that big BIGGER!

7. 1, 2, 3…Let’s go Task 1 The doing part Your Mono print needs to done an A3 sheet of paper. Let’s be ambitious from the start. TOP TIP A) When you are walking around school looking for a location make sure you choose somewhere that you can return to and take more photos of in different conditions, different people present and absent.B) Use masking tape to stick your photos together. C) Make an A3 mono print using your collage. D) Use very little ink on your printing plate. All you need is a thin layer of ink to make your print.

8. Task 2 Relationships with interior and exterior space Create and install an art intervention An art intervention is an interaction with a previously existing artwork, audience, space or situation. There are many spaces in Fortismere School that provide suitable places for an art intervention. Art interventions are associated with the Dada movement and Neo-Dadaists (20th century), however art interventions are made by contemporary artists working today. OUTCOME: Document your art intervention. You must photograph both the installation of your work as well the final outcome as it could be removed at any point. Present this in your sketchbook as well as samples of the materials used and a write up of the process and relevant artists.

9. Zander Olsen ‘Tree Line ‘ This is an ongoing series of constructed photographs rooted in the forest. These works involve site specific interventions in the landscape, ‘wrapping’ trees with white material to construct a visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.’ Sean Griffiths ’My dream of levitation’ Dan Bradica Doris Salcedo ‘Shibboleth’ Mark Jenkins BANKSY

10. Task 3 Henri RousseauFrance 1844 -1910 Listen to this The Great Artists - Post-Impressionism – Rousseau This documentary discusses Rousseau’s life and ideas. Make time to watch it. There’s loads of info here. Food for thought. Paying attention to this documentary might provide the spark you need to set you off on your own journey of exploration. Task:Rousseau made up all his locations and his connection to them. Most likely he never left Paris, but he claimed to have travelled the world. The construction of subject in his paintings is made up. It’s a great big fantasy. It’s fiction & fantasy Henri RousseauMyself: Portrait Landscape1890

11. Think back to Picasso. Well, during Rousseau’s life Picasso and a few of his avant-garde friends thought Rousseau’s work was great. They loved it and Picasso would buy his paintings and hang them in his own studio. Picasso organised a banquet in Rousseau’s honour. The banquet was a kind of making fun of Rousseau and an event to honour him. Portrait of a Woman 1895, was the centre piece of the event. Picasso bought the painting in a junk shop for 5 francs.

12. Task 3a: Take on board what you now know about Rousseau. Make a collage where you make a fantasy setting, fantastic setting. Task 3b Make another collage. This time look at Rousseau’s “Myelf: Portrait Landscape”, and make a setting that visually coherent image into which you will include a self portrait. (Maybe you can depict yourself in the role of a profession… Painter, police officer, teacher, pilot, teacher…) Henri Rousseau, Myself: Portrait Landscape, 1890

13. Sean Hillenb. 1961 Hillen returns to Newry (2006) Seán Hillen short film Sean Hillen on Imeall (TG4 2010) Watch these Hillen is interesting because he takes his experiences of being Irish artist and tackles ideas concerning Irish identity during the troubles, a time when the British public where not being presented with a balanced perspective of what was going on in Ireland. Similar to Rousseau, Hillen imagines two different places and mixes them together. He re-addresses his concerns by relocating what was happening on streets of Northern Ireland and relocating it to the streets of London.No Photoshop is involved. The collages are all made by collection images from magazines and cutting and gluing them down into compositions that express the narrative Hillen is engaged with.

14. Four Ideas for a New Town #1, 1982, mixed media 30 x 32 cm Hillen says: “I photographed the figures in this black and white scene in the Bogside in 1981. The boy on the right is wearing a Celtic scarf with holes cut out for his eyes. He's staring at me, because he heard my accent, I think, and was unhappy about what I was doing there”.

15. Four Ideas For A New Town, #71987, mixed media, 44x28cm Hillen says: The building is the Royal Festival Hall on the South Bank in London, built as part of the Festival of Britain in 1951. It's a lovely building with concert halls etc and until lately, anyway, an excellent program of exhibitions. I'm fond of it too because I lived in the area for a long time and used to mooch around there a lot. In fact, this montage has been exhibited inside that very building twice; in 1991 when I won a prize in the South Bank Photo Show and in 2000 in an interesting show called Revealing Images. I was playing, obviously, with the flames and flowers. Permanent Collection, Imperial War Museum, London.

16. [Did you watch the films? If you took the time to do so, well done. If not you need to do the research.The research you do is always going to make a positive contribution to your ideas and work. Broaden your horizon. However, your research needs to be meaningful. Explore and understand an artists ideas. If you’re not understanding the work you’re looking, think about it some more. Talk to your peers and teacher about it. Be informed and give your opinion. Task i) Document Sean Hillen’s works content. Focus on his series The Troubles and Irelantis. ii) Produce a collage that explores/explains ideas concerning the truth of a situation. Your collage should be a work that is refined and you’ve taken time over. It should be a double page spread. PICASSO ALERT. Guess what? It’s Picasso time again. In the unfolding of Cubism Picasso invented collage as we know it today. You’re about to use a process that Picasso created in the early days of cubism.