HEIDE EDUCATION
Keepsake
Les Kossatz
Sweeney's Keepsake 1987
painted steel
450 x 200 x 110 cm
Heide Museum of Modern Art, Melbourne GiC of Les Kossatz 1987
This educaFon resource has been produced by Heide Museum of Modern Art with The Song Room. This work is licensed under a CreaFve Commons APribuFon-­‐NonCommercial-­‐NoDerivs 3.0 Australia License.
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Introduc)on
Keepsake comprises video and acFvity resources. The resources encourage students to consider the relaFonship between arFsts and audience. Students will learn about sculpture by responding to Sweeney's Keepsake (1987) by Les Kossatz. They will make their own sculpture inspired by sculptor Lucy Irvine, using various materials and art making processes.
Learning focus
This resource will be of value in addressing content descripFons from the Making and Responding strands of the Visual Arts curriculum for early primary schooling from the Australian Curriculum: The Arts, FoundaFon to Year 10. Detailed curriculum informaFon can be found online at: ACARA. Target year level
FoundaFon to Grade 2
Driving inquiry
How do arFsts express personal feelings and memories through sculpture?
Most important learning aims
When compleFng these resources, students:
• Understand expression of personal feelings and memories through making artworks • Respond to and reflect on a parFcular artwork
• Classify sculpture as a parFcular art form
General capabili)es addressed in resource
• Literacy
• CriFcal and creaFve thinking
• Personal and social capability
• Ethical behaviour.
Ac)vity templates
• Special memory Y drawing template
• Keepsake frame and heart template
Teaching and learning ac)vi)es
The Keepsake resources are flexible and designed for teachers to enrich their subject areas and support students’ learning in the following ways: • Create opportuniFes to view and respond to a visual text (a sculpture). • Encourage a variety of transferable thinking strategies to encourage careful observaFon and thougheul responses, in addiFon to providing opportuniFes for reflecFon. • Promote parFcipaFon through small group and whole-­‐class acFviFes. • Explore personal interests and memories for the creaFon of their artworks. Sugges)ons for assessment and reflec)on
The following acFviFes provide suggesFons that can be developed into assessment and reflecFon tasks for formaFve and summaFve assessments.
•Forma)ve assessment tasks (during a project) include responses to key quesFons in the Student AcFvity Sheets, art work in progress, and parFcipaFon in discussion.
•Summa)ve assessment tasks (end of project) include producFon and display of one-­‐word concrete poem, self-­‐evaluaFon, and peer evaluaFon.
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•Reflec)on methods (individual or group) include parFcipaFon in small group or class discussion, viewing and responding to key quesFons at the end of each acFvity, responding to their own and others’ artwork.
Tips for teaching art
•Artwork for students is about the process just as much as the finished product. •Encourage everyone to ‘have a go’ and focus on the posiFve aspects of their work. Focus on what is similar and different, rather than on what is good or bad.
•Aim for expression rather than perfecFon.
•Use a paste or a glue sFck that dries quickly.
•Empathy and understanding of others is fostered by students stepping back and viewing their own artwork alongside others.
•Some students may choose to explore emoFons such as grief and loss through the creaFon of their keepsake artwork. The creaFve process involved in arFsFc self-­‐expression can assist young people to resolve issues, develop interpersonal skills, manage behaviour and achieve insight. However, as always teachers should be guided by school policy in relaFon to the student welfare pracFces and supports that are available at the school. Safety with art materials
•The teacher must set a good example when demonstraFng proper use of materials and supplies. •Always include health and safety issues when giving lesson presentaFons and during general classroom instrucFon.
•The teacher should also refer to the school policy for using materials and equipment.
Sugges)ons for extension ac)vi)es in other learning areas The acFviFes introduced in this resource are versaFle and can be used in the classroom to explore a number of cross-­‐curriculum links. The following are some suggesFons for cross-­‐curriculum acFviFes that can be used to enrich a variety of subjects and engage students in their learning. English • Use the Special Memory Y-­‐drawing Template as a sFmulus for a short wriPen acFvity. Students insert their special person, place, or event into a story. • Write a story about a special event that they might look forward to in the future. • Review of one of their classmates’ sculptures, commenFng on their choices of materials, colours, shapes and texture. • Decorate a frame with words describing their keepsake, rather than art materials. • Consider where their sculpture could be displayed, to further enhance its meaning. ©Heide MoMA 2013 EducaFonal use only Page 3 of 17
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Maximising outcomes
When reflecFng on artworks or exploring new creaFve topics, it may be useful to use the following teaching and learning strategies.
See, Think, Wonder This thinking rouFne encourages students to make careful observaFons and give thougheul responses when exploring works of art.
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•
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What do you see?
What do you think about that?
What do you wonder about?
Use one stem at a Fme (I see… I think… I wonder…) and list responses on the board to make thinking visible. It’s also a good idea to use “wait-­‐Fme” and remember to provide adequate Fme for students to think about the quesFon before requesFng answers.
Think, Pair, Share The think, pair, share strategy is a cooperaFve learning technique that encourages individual parFcipaFon and is applicable across all grade levels and class sizes. Students think through quesFons using three disFnct steps:
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•
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Think: Students think independently about the quesFon that has been posed, forming ideas of their own.
Pair: Students are grouped in pairs to discuss their thoughts. This step allows for all students to arFculate their ideas and to consider those of others.
Share: Student pairs share their ideas with a larger group, such as the whole class. OCen, students are more comfortable presenFng ideas to a group with the support of a partner. In addiFon, students' ideas have become more refined through this three-­‐step process.
Y drawing chart
This graphic organizer will help the students structure or organise their thinking about a special memory using three of their five senses. The students can draw images in relaFon to the three secFons.
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What does my special memory look like?
What does my special memory sound like?
What does my special memory feel like? (This can be physical or emoFonal feelings)
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Les Kossatz and Sweeney’s Keepsake
Engaged by the world around him, Les Kossatz (1943-­‐2011) was a prominent Australian arFst passionately explored social and cultural issues across his extensive arFsFc career. From the commencement of his pracFce in the mid-­‐1960s Kossatz has experimented widely with materials and techniques, pursuing a pracFce that includes painFng, sculpture, printmaking, drawing and stained glass. At Fmes criFcal and challenging, at others playful or ironic, Kossatz’s works are underpinned by an abiding interest in the tensions between the natural world and the constructs created by humankind.
Sweeney’s Keepsake (1987) stands in the beauFful sculpture park at Heide Museum of Modern Art and was made in memory of Kossatz’s friend, arFst Sweeney Reed (1945-­‐1979), whose childhood was spent in the creaFve environs of Heide. Sweeney’s Keepsake (1987) is an outdoor memorial and homage made aCer a period in which the arFst considered how best to remember his friend. Sweeney Reed’s own lithograph Keepsake e (1977) inspired the heart-­‐shaped centrepiece. Kossatz employed the heart with power and simplicity in a sculpture invested with thoughts of life, friendship and relaFonships at Heide. Sweeney’s Keepsake is located within a secluded grove of trees at the edge of the Heide property.
Sweeney Reed Keepsake e 1977
lithograph on paper
ediFon 1/20
12 x 10 cm
Heide Museum of Modern Art, Melbourne
Bequest of John and Sunday Reed 1982
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Keepsake video
ArFst Lucy Irvine introduces you to Les Kossatz’ sculpture Sweeney's Keepsake (1987), which can be spied through the trees in the sculpture park at Heide Museum of Modern Art. This sculpture was inspired by the arFst’s knowledge of his friend Sweeney playing in this area (as a child) where the sculpture now stands. We encourage you to reflect on personal memories and keepsakes you have collected and then make your own sculpture inspired by these (with a liPle help from Lucy too!).
To view the 5 minute video go to: hPp://vimeo.com/69659105 Video produced by The Song Room with Heide Museum of Modern Art.
Addi)onal notes
This resource encourages students to consider the dynamic relaFonship between arFsts and audiences. The associated acFviFes explore sculpture as an art form by viewing and discussing Sweeney's Keepsake (1987) by Les Kossatz. Students (as arFsts) will respond by communicaFng their own special memory through construcFng a sculpture, using various materials and processes. Teacher notes will extend these acFviFes and include ideas to encourage students to reflect upon their own and respond to other’s artworks and consider ways that art inspired by a personal memory or emoFon can call to mind similar memories and feelings.
Crea)ve territories to explore:
• That art has is a creaFve process that can help young people express emoFon, develop interpersonal skills, manage behaviour and communicate new understandings about themselves and their world. • Art can be a vehicle for non-­‐verbal communicaFon. • ArFsts develop interpersonal relaFonships with the viewer.
Ac)vity 1 is divided into three parts. Students are required to;
1.
Discuss Les Kossatz’s sculpture Sweeney's Keepsake (1987) as a sculpture that refers to a memory of his friend, Sweeney Reed, who used to live at Heide and liked to play in this area under the trees. A drawing by Sweeney inspired the overall design of the sculpture. ©Heide MoMA 2013 EducaFonal use only Page 6 of 17
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2.
3.
Discuss what is a keepsake? Teachers prompt students by sharing their own keepsakes (e.g. special bracelet, shell from a beach holiday and/or conversaFon starters: memories of a celebraFon, a holiday, a pet)
Complete the Y drawing chart (looks like, sounds like, feels like) about a special memory (of a person, place or Fme). Discuss the memory in pairs. Select one picture (from the Y drawing chart) that best represents that memory. Re-­‐draw that picture (this becomes their ‘keepsake’) on a small card to be aPached to the students sculpture in the next acFvity. A whole-­‐class or small group discussion regarding special memories (of people, places or events) will provide a useful introducFon to AcFvity 1 (Y drawing chart). Ac)vity 2: Making a sculpture
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Teacher will need to prepare the frames ahead of Fme, using the template provided. Materials that can be used to decorate the frame include: a range of light-­‐weight collage paperswith different surfaces and reflecFve qualiFes; and other light-­‐weight objects like feathers, sequins and string that will be pasted onto the frame with glue sFcks. The students will assemble their frame then cut/tear their own shapesfrom collage materials to decorate it. The centrepiece of the sculpture (card with drawing of ‘keepsake’) will then be hung from the top of the frame to be suspended in space. Keepsake comprises video and acFvity resources. The resources engage students to consider the relaFonship between arFsts and audience. Students will learn about sculpture by responding to Sweeney's Keepsake (1987) by Les Kossatz. A graphic organiser, Y-­‐Chart has been included to assist students define a personal memory. They will make their own sculpture devised by sculptor Lucy Irvine, using various materials and processes. A template for this frame is also included. Throughout this acFvity students will: reflect and respond to their own and others art works consider the social context of artworks, the arFst and of the audience/s
explore arFsFc processes and communicate ideas through making art works
When the students’ sculptures are complete, it might be a good opportunity for students to view and reflect upon each other’s work. Students can comment on the various qualiFes of the materials chosen and used in the sculpture, as well as the different ‘keepsake’ images chosen and what it makes them think about. Such a discussion will lead students to an understanding that arFsts use art to communicate ideas and those ideas can bring up different responses in the viewer. Students begin to realise that certain emoFons are evoked by parFcular memories. For example, happiness, friendship, adventure, fun, love, laughter or loss, and that while these themes are personal, they are also universal. Some students may choose to express sadder emo7ons to focus on such as grief, loss or longing. (e.g. for a pet, grandparent, or home country). The crea7ve process within a safe environment can be one that is helpful for young people. However, teachers should be guided and supported by the par7cular student welfare policies and prac7ces available at their schools. ©Heide MoMA 2013 EducaFonal use only Page 7 of 17
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Ac)vity 1: Responding to Sweeney’s Keepsake
The acFvity involves responding to a video that explores sculpture in general, and Les Kossatz’s sculpture Sweeney’s Keepsake, in parFcular. Students discuss the artwork and consider different viewpoints, discuss what a keepsake is and why they are special. Students will also be encouraged to talk about their own special memories (of people, places or events) before compleFng a Special Memory Y-­‐drawing Template.
Resources • Keepsake video (page 6)
• Special memory Y-­‐drawing template (page 12)
• Keepsake heart card template (page 13)
Addi)onal resources required
• coloured pencils, felt-­‐Fp pens or pastels
• an example of a personal keepsake to show the class (opFonal).
Lesson
1. Watch the Keepsake video.
2. ACer watching the video show the example image on the website.
3. As a class, discuss Les Kossatz’s sculpture Sweeney’s Keepsake as a three-­‐dimensional object that refers to a memory of his friend Sweeney Reed. Try to keep quesFons open ended and encourage students to relate their personal experiences of sculptures. Discussion prompts may include:
• What is a sculpture (eg statue, three-­‐dimensional art form)?
• Where have we seen other sculptures in our community (eg local public artworks, it may help to refer to other images of sculptures)?
• Are sculptures only made to be displayed outside or might we also discover them indoors?
• What do we call a person who makes sculptures (eg imaginaFve, arFst, sculptor, creaFve, hands-­‐on)?
4. Use the ‘see, think, wonder’ outline to discuss Sweeney’s Keepsake, wriFng the responses on the board.
• What can students see?
• What do students think about it?
• What do students wonder about it?
What is a keepsake?
1. Introduce the concept of a keepsake to the class.
• Share an example of your own keepsake with the class. Tell students the story of your keepsake and why you have kept it.
• Ask students to ‘think, pair, share’ and discuss if they keep any objects that remind them of special celebraFons, holidays, friends or pets.
2. Ask some students to discuss their keepsake with the class.
• What is their keepsake?
• Why is this object, person or memory special to them?
• Why do they keep it?
• Where do they keep it?
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Special Memory Y-­‐drawing
1. Hand out copies of the Special Memory Y-­‐drawing Template to students.
2. Students think of a special memory, or keepsake, of a person, place or event and write this down in the cloud.
3. Students complete the template by drawing images of what their keepsake feels like, looks like and sounds like.
4. Students share their completed template with a partner. Encourage them to select one drawing they think best represents that memory and discuss it with a partner.
Keepsake Heart Card
1. Distribute copies of the Keepsake Heart Card Template and ask students to re-­‐draw their favourite picture from the template on the card.
2. As a class, discuss:
• Are there any images that are similar? Different?
• Why do you think this is?
• What is similar or different about the class’s keepsake images and Kossatz’s Sweeney’s Keepsake?
• What could you do to make your picture three dimensional?
• Where could your keepsake image be displayed?
Completed keepsake sculpture
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Ac)vity 2: Making a keepsake sculpture
In this acFvity students will communicate their own special memory through making a sculpture using various materials and processes. Basic visual arts terminology will be introduced, such as scale, texture and colour. Students have the opportunity to reflect upon their own artwork and respond to other’s artworks to consider ways that art can be inspired by a personal memory or emoFon that can evoke shared experience. Materials required
• Pre-­‐cut frames (use the keepsake frame template on pages 14-­‐18)
• Completed keepsake cards
• Pieces of cardboard
• A variety of light-­‐weight materials: Such as crepe paper, Fssue paper, wrapping paper, kindergarten squares, felt, foils, feathers, sequins straws…
• Glue sFcks
• Scissors
• String Prepara)on
To make the Frames:
1. Cut the shapes on your template out along the black lines and trace them onto cardboard.
• Use a solid cardboard, like mount board
2. Carefully cut the shapes out of the cardboard using strong scissors. Undecorated keepsake sculpture frame ©Heide MoMA 2013 EducaFonal use only Page 10 of 17
HEIDE EDUCATION
Lesson
1.
Distribute the pre-­‐cut frames to students and ask them to write their names on them.
2.
Work with students to assemble the frame, which will form the support structure for their artwork. • The two smaller pieces slide into the square frame to hold it upright. The heart will be suspended from the top of the square. 3.
Encourage students to decorate their frame by cuvng, tearing and pasFng the available materials (as listed above) to the frame.
• Students should consider some of the art elements while working with the materials such as scale, texture and colour… • Basic visual art vocabulary can be introduced here, such as: scale, space, shape, texture, colour, form, tone, movement and surface. (This is the language we also use when describing artworks ) 4.
Assist students to suspend their Keepsake card from the frame with string. • The keepsake is the centrepiece (the heart) of the sculpture. 5.
When the frames have been decorated and the students have a completed sculpture, place them on a shelf or table for discussion.
• Encourage students to move around the room and look at one another’s keepsake sculptures.
• Ask students to select an artwork other than their own and comment upon it regarding the choice of materials and/or the keepsake image and what it makes them think about. Sugges)ons for extension ac)vi)es in other learning areas The acFviFes introduced in this resource are versaFle and can be used in the classroom to explore a number of cross-­‐curriculum links. The following are some suggesFons for cross-­‐curriculum acFviFes that can be used to enrich a variety of subjects and engage students in their learning. English • Use the Special Memory Y-­‐drawing Template as a sFmulus for a short wriPen acFvity. Students insert their special person, place, or event into a story. • Write a story about a special event that they might look forward to in the future. • Review of one of their classmates’ sculptures, commenFng on their choices of materials, colours, shapes and texture. • Decorate a frame with words describing their keepsake, rather than art materials. • Consider where their sculpture could be displayed, to further enhance its meaning. ©Heide MoMA 2013 EducaFonal use only Page 11 of 17
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Y drawing chart template
This graphic organizer will help you organise your thinking about a special memory using three of your five senses. It will help you choose one special memory to draw on your keepsake heart. Consider:
• What does my special memory look like?
• What does my special memory sound like?
• What does my special memory feel like? (This can be physical or emoFonal feelings.)
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Keepsake heart card template
Instruc)ons Use this simple template to create the keepsake heart. 1. Fold along the doPed lines to make an A-­‐frame.
2. Draw your special memory in the heart below. 3. Once you have finished you can choose to: • cut out the heart and hang it somewhere special • use this sheet to create a three-­‐dimensional frame by folding along the dashed lines.
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Keepsake frame template 1. Use this template to create a keepsake sculpture. 2. This frame should be created with card or on reinforced paper. 3. The smaller triangles form the base of the frame. ©Heide MoMA 2013 EducaFonal use only Page 14 of 17
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Glossary
Form
Form describes a three-­‐dimensional image or object, or refers to how an artwork’s different elements are put together. A statue may have a human form, an abstract sculpture may be in the form of a sphere, and a painted form may combine different shapes and scales.
Keepsake
A souvenir, memento or object that people keep to remind them of special people, places and Fmes. Heide Museum of Modern Art
Heide Museum of Modern Art began life in 1934 as the home of art patrons John and Sunday Reed, and has since evolved into one of Australia's most important cultural insFtuFons. Heide, as it is affecFonately known, has a naFonal reputaFon based upon the vision of the Reeds and their role in the development and promoFon of modern art in Australia. For all who visit, Heide offers an inspiring, educaFonal and thought-­‐provoking experience of modern and contemporary art, architecture, gardens and social history.
Movement
Some artworks stay sFll and others are meant to move. The frame in the artwork in this acFvity is solid, while the heart hangs inside and can move a liPle if a breeze catches it. Scale
Scale refers to size of something in relaFon to something else. For example, is an artwork larger, smaller or the same size as a person?
Sculpture
A three-­‐dimensional artwork that can be walked around and looked at from different viewpoints. Shape
Shape describes an enclosed, two-­‐dimensional space, for example a triangle. Shapes may be geometric with clear edges (eg. squares, circles), or organic with irregular edges (eg. hearts, flowers).
Space
Space is an element in art that refers to the areas between, around and within an artwork. Space can be posiFve (white or light) or negaFve (black or dark), open or closed, shallow or deep and two-­‐dimensional or three-­‐dimensional. hPp://arthistory.about.com/cs/glossaries/g/s_space.htm
Surface
A surface is the outer layer or skin of something, or the material this outer boundary is made of. For example we may say: ‘the sculpture’s surface was finished in concrete’, or ‘the pot’s surface was glazed’.
Texture
This is what something feels like. Is it rough or smooth? SoC or hard?
Tone
A word used to describe if something is light or dark or somewhere in the middle. ©Heide MoMA 2013 EducaFonal use only Page 16 of 17
HEIDE EDUCATION
This educaFon resource was produced in collaboraFon with The Song Room as part of the Arts:Live suit of arts educaFon resources. Heide Educa)on
Heide’s offers a range of educaFon programs that draw on its unique mix of exhibiFons, architecture and landscape to provide a rich learning experience that goes beyond the classroom. A visit to Heide:
• provides a sFmulaFng environment which helps to put learning into context, and promotes an understanding and appreciaFon of our rich, cultural heritage • encourages moFvaFon, by sFrring curiosity and developing an intrinsic fascinaFon for art that can only be saFsfied by firsthand experience
• nurtures creaFvity and enables social learning
• is a cultural experience that all pupils can enjoy Looking at original works of art with a suitably trained educator also encourages the development of the following skills:
• literacy: by encouraging discussion and extending vocabulary
• observa)on: by focusing concentraFon on detail
• cri)cal thinking: by demanding quesFons and informed conclusions
• reflec)on: by considering raFonales behind thinking processes
Programs for teachers
Heide offers a range of professional development programs for teachers of all year levels, including lectures, guided tours and workshops. Programs are designed to meet the VIT Standards of Professional PracFce and Principles for EffecFve Professional Learning. Further informaFon about Heide’s educaFon programs is available at Heide.com.au/educaFon
Bookings
Bookings are essenFal for all programs. For more informaFon or a booking form visit Heide.com.au/
educaFon or contact Heide EducaFon: (03) 9850 1500 [email protected]
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Teachers are encouraged to visit Heide prior to a booked school visit (complimentary Fcket available) to familiarise themselves with the exhibiFons and faciliFes. Heide is commiPed to ensuring its programs and acFviFes are accessible to all. Schools recognised as having a low overall socio-­‐economic profile on the Government School Performance Summary are eligible to apply for a reduced fee. Please contact Heide EducaFon for more informaFon. Keep up to date with the latest Heide EducaFon news and special offers by subscribing to the Heide EducaFon e-­‐bulleFn at heide.com.au/subscribe
Heide Museum of Modern Art
7 Templestowe Road
Bulleen VIC 3105
T 03 9850 1500 heide.com.au
Open daily 10am–5pm
Closed Mondays (except public holidays)
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