a is for britain

IS FORBRITAIN

SCHOOLS AND TEACHERS TATE LONDON LEARNING

A

IS FORBRITAIN

is an A to Z of activities, devised by artists, that relate to artworks in the gallery, artists’ processes and the building itself.

Ask at the Schools and Teachers’ Desk to see the set and choose your letters.

Each letter uses its A4 paper differently. For some letters you need to use your own pen or pencil. Others may ask you to fold, tear, balance or debate. For every letter you are invited to look, think and respond.

For further information on our resources please email resource.coordinator @tate.org.uk

SCHOOLS AND TEACHERS TATE LONDON LEARNING

A A IS FOR ART

B IS FOR BRITISH AND BRITANNIA

C IS FOR CUP OF TEA

D IS FOR DEBATE

E IS FOR EYE

F IS FOR FLAT PACK

G IS FOR GREAT

H IS FOR HUME AND HOUSEHOLD

I IS FOR INSERT

JIS FORJOURNEY

K IS FOR KIT AND KABOODLE

L IS FOR LAYER

M IS FOR MEMORY

N IS FOR NARRATIVE

O IS FOR OVERLOOKED AND OBSCURE PLUS ORIGINAL AND OUTLINE OR OTHERS, OBVIOUSLY, OH AND OVERT

P IS FOR PERFECTION

Q IS FOR QUESTION

R IS FOR ROCK DRILL AND RE-PURPOSE

T IS FOR TOUCH

U IS FOR UPWARDLY MOBILE

V IS FOR VERB

W IS FOR WOODROW

X IS FOR CROSSING THE LINE AND EX-ART

Y IS FORYOU ARE BEING SEEN

Z IS FOR ZOOMING IN

S IS FOR SCREAM

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AIS FORART

AIS FORART

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Activity by Sarah Carne and Effie Coe in collaboration with Schools and Teachers Tate London Learning

Sir John Everett MillaisOphelia 1851-52

John Singer SargentCarnation, Lily, Lily, Rose 1885-6

Should art be good for you?

John Singer Sargent and Sir John Everett Millais both used models to pose for their paintings.

For Millais’ painting Ophelia Elizabeth Siddal posed in a bath of water kept warm by oil lamps underneath. One day the lamps went out without Millais noticing and as a result she became very unwell, Millais was forced by her father to pay her expensive medical bills.

Strike a pose that you can see in one of the artworks and hold it as long as possible whilst someone else draws you on their A4 paper.

Don’t make yourself unwell.Do you prefer being the modelor the artist?


BIS FORBRITISH ANDBRITANNIA

BIS FORBRITISH ANDBRITANNIA


Tate Britain has a statue of Britannia, the female personification of the British Isles, flanked by a lion and unicorn on its roof.

Inside the gallery look for other artworks of famous figures. Can you think of different reasons why they are on display?

Think about who you would have on the roof to represent your Britain.

Draw them on this A4 paper.

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CIS FORCUP OF TEA

CIS FORCUP OF TEA

Activity by T. Brake in collaboration with Schools and Teachers Tate London Learning

Everyone needs a break.Take this A4 paper to the café.Use it and your cup of tea to make an artwork.

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DIS FORDEBATE

DIS FORDEBATE


Sir Hubert Von HerkomerSir Henry Tate 1897andPortrait of Lady Tate circa 1899

Does the art of the past say anything about the world today? Portraits of Henry Tate, the founder of the Tate Gallery and Lady Tate, his extrovert second wife who was 29 years younger than him, hang either side of the Rotunda’s entrance. On your A4 paper write what you think they would say about the contemporary artwork in the gallery today.

Would they agree? If not why not?

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EIS FOREYE

EIS FORFOR EYE

Activity by Imogen Cornwall-Jones and Sam Gorman in collaboration with Schools and Teachers Tate London Learning

Room 1880-1960

The artworks in this room were created in the turbulent years following World War II and in them you will find many eyes; some bandaged, some staring, some in pain, some watching.

Fill your A4 paper with drawings of as many eyes as you can find.

Tear a space in your sheet and look through it, adding your own eye to all the others.

Can you show a range of emotions with just your eye? Perform your eye emotions to all eyes in the room.

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FIS FOR FLAT PACK

RETURN YOUR SCULPTURE TO ITS ORIGINAL FLAT PACK FORM TO TAKE AWAY WITH YOU

FIS FOR FLAT PACK

Activity by Corinne Felgate in collaboration with Schools and Teachers Tate London Learning

According to conventional definitions:

Sculpture is three-dimensional art made by one of four basic processes. These are carving (in stone, wood, ivory or bone); modelling in clay; modelling (in clay or wax) and then casting the model in bronze; constructing (a twentieth-century development).

Artists consider the materials they use very carefully in order to explore ideas and experiment.

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GIS FORGREAT

GIS FORGREAT


What are your Top 10 Greatest Hits?

As you walk around the gallery choose the ten artworks you find the most British and list them on this paper.

Can you give ten explanations for your choices?

Would your ten artworks work well together in their own exhibition?

Debate your list with ten other people!

Do they tend to agree?

1.2.3.4.5.6.7.8.9.

10.

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HH IS FOR HUME AND HOUSEHOLD

HH IS FOR HUME AND HOUSEHOLD

Activity by Corinne Felgate in collaboration with Schools and Teachers Tate London Learning

Gary HumeThe Generals 2004

Gary Hume famously uses household gloss paint to make his work.

List ten other household items you might use to paint with. You might find inspiration from other artworks in the gallery. Think about the texture Hume has achieved, what type of surfaces would you create?

This A4 paper is your canvas, rummage in your bag or pocket to find something that will change the surface of your paper; lip gloss, a grubby finger or even a sandwich filling!

When you get home try out your list of household items to create other canvases.

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IIS FORINSERT

IIS FORINSERT

Activity by Sarah Carne in collaboration with Schools and Teachers Tate London Learning

Some artists like to add things to other artists’ artworks. (Duchamp famously gave Mona Lisa a moustache.)

Make a prop or an accessory out of your A4 paper.

Choose an artwork and hold your prop up at the correct distance to make it fit to scale.

Ask someone to photograph your insertion.

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JIS FORJOURNEY

JIS FORJOURNEY

Activity by Marysa Dowling in collaboration with Schools and Teachers Tate London Learning

JMW Turner

Find one of Turner’s paintings that captures your imagination. Spend time looking at it. If you were in it what would you hear, see and smell? Spend one minute filling your paper with words to express the emotions and sensations you feel. Do not look at the paper, continue to look at the painting as you write.

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KKKKKKKKKKKK KKK KKKKK KK KKKKKKKK K KKKK KKKKKKK KKK KKKK KKKKKKKKK KKK KK KKKKKKK KKKKKKKKKKKKKKKKKKKK KKK KKKKK KKKKKKKK KKKK KKKKKKK KKK KKKK KKKKKKKKK KKK KK KKKKKKK KKKKKKKKKKKKKKKKKKKK KKKKK KKKKKKKK KKKKKKK KKKK KKKKKKKKK KKK KKKKKKK KKKKKKKKKKKKKKKKKKKK KKKKK KKKKKKK KKKKKKKKK KKKKKKKKKKKKKKKKKKK KKKKKKK KKKKKKKKK KKKKKKKKKKKKKKKKKKK KKKKKKK KKKKKKKKKKKKKKKKKKK

KKKKK KKK KKKKKK KK KKK KKKKKK KKKKKKK KK KKKKK KKKK KKKKKKK KK KKKKK KKK KKKKK KKKKK KKKKKKKKK KKK KKKKKK KK KKK KKKKKK KKKKKKK KK KKKKK KKKK KKKKKKK KKKKK KKK KKKKK KKKKK KKKKKKKKK KKKKKK KKKKKK KKKKKKK KKKKK KKKKKKK KKKKK KKKKK KKKK

KKKKKK KKKKKKK KKKKKKK KKKKK KKKKKKKKKKKK KKKKKKKKKKKKKKKKKKK

KKKKKKKK KK KKK KKKKK KK KKKK KKKKKKKKKK KKKKK KKKK KK KKKK KKK KKKK KKKKKKKK KKKKK KKKKKKKKKKKKKKK KK KKK KKKKK KKKK KKKKKKKKKK KKKKK KKKK KK KKKK KKK KKKK KKKKKKKK KKKKK KKKKKKKKKKKKKKK KKK KKKKK KKKK KKKKKKKKKK KKKKK KKKK KKKK KKKK KKKKKKKK KKKKK KKKKKKKKKKKKKKK KKKKK KKKKKKKKKK KKKK KKKK KKKKKKKK KKKKKKKKKKKKKKK KKKK KKKKKKKKKKKKKKKK KKKKKKKK

KKKKKKKK

KKK KKK KKK KKKKK KKKKK KKK KKKKK KK KKKK KKKKKKKK KKK KKK K KKKKKK KKK KKKKKKKKKKKK KKKKKKKK KKK KKK KKKKK KKKKK KKK KKKKK KKKK KKKKKKKK KKK KKKKKK KKK KKKKKKKKKKKK KKKKK

KKK KKKKK KKKKK KKKK KKKKKKKK KKKKKK KKKKKKKKKKKK KKKKKKKKKK KKKKK KKKKKKKK KKKKKKKKKKKKKKKKK KKKKKKKK KKKKKKKKKKKK

KKKKKKKK

KIS FORKIT AND KABOODLE

KIS FORKIT AND KABOODLE


The Tate Collection belongs to the nation which means it belongs to you (although you can’t take it home!).

Your Tate Collection is also enormous. It currently consists of 66,062 works of art by 3,075 artists including:

4,930 paintings1,690 sculptures285 reliefs 333 installations 47,653 unique works on paper 13,272 prints on paper329 blocks for printing …and is always expanding.

Use this A4 paper to note down or draw something about EVERY single artwork that you choose to stop in front of on your visit today.

Only 5% can be on display at any one time, your paper is a record of today’s 5%.

The next time you return things may have changed.

Supported by

LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL

LIS FORLAYER

LIS FORLAYER

Activity by Jo Addison and Natasha Kidd in collaboration with Schools and Teachers Tate London Learning

John StezakerMask XIII 2006Mask XIV 2006

John Stezaker uses cut-out shapes and images to lay over and mask part of an image.

Look for a shape in one of the artworks you see around you. Tear or fold this A4 paper into the shape you have identified.

Hold your shape at arms length to obscure part of another artwork, part of the room you’re in, or part of a gallery visitor.

Make a drawing or take a photograph of this new image.

Supported by

MIS FORMEMORY

MIS FORMEMORY


Bethan HuwsBoats 1983-2006

Think of something you can remember making when you were younger.Make it again now out of this piece of A4 paper.Do it again.And again.What does it feel like?What does it look like?

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NIS FORNARRATIVE

NIS FORNARRATIVE


Augustus Leopold EggPast and Present, No.1 1858Past and Present, No.2 1858Past and Present, No.3 1858

In Past and Present, No.1 the reflection, the paintings, the cards, the apple and the items discarded on the floor are all clues that have something to add to this story of adultery.

Fold your A4 paper into 3 sections and use symbols, contemporary objects and modern day references to create a new triptych that continues the soap opera story but for a 21st Century audience.

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OIS FOROVERLOOKED AND OBSCURE PLUS ORIGINAL AND OUTLINE OR OTHERS, OBVIOUSLY, OH AND OVERT

OIS FOROVERLOOKED AND OBSCURE PLUS ORIGINAL AND OUTLINE OR OTHERS, OBVIOUSLY, OH AND OVERT


Turn your paper into a sign that draws attention to an overlooked artwork.

We’ve chosen one ourselves and on this A4 paper have made an overt reference to it.

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PIS FORPERFECTION

PIS FORPERFECTION


The golden rectangle is so aesthetically pleasing to the eye our world is designed around it. Credit cards, wide screen televisions, buildings and paintings are frequently based on its apparently perfect ratio of 1:1.618.

Fold your A4 paper along the dotted line to create your own golden rectangle. As you walk round the gallery hold it up at arms length in front of the artworks and see which historical and contemporary artists have chosen this as the shape for their canvas. Remember to close one eye when you hold the rectangle up.

How has the artist divided up the rectangle? In half? In thirds? Where is the action located?

Compare with artworks that don’t fit the rectangle. Are these paintings less balanced and less pleasing to the eye than those that are based on perfection?

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IS FORQUESTION

QIS FORQUESTION

Activity by Abigail Hunt in collaboration with Schools and Teachers Tate London Learning

Michael Craig-Martin An Oak Tree 1973

Read Michael Craig-Martin’s questions and answers.

Now use this A4 piece of paper to create a label or sign to re-name an object as something else.

Draw your text as carefully as possible, attempting to mimic a printed or typed sign.

Place your sign.

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RIS FOR ROCK DRILL AND RE-PURPOSE

RIS FOR ROCK DRILL AND RE-PURPOSE


Jacob EpsteinTorso in Metal from ‘The Rock Drill’ 1913-14

Epstein had already completed this sculpture when he changed it in response to the events of the First World War.

Consider how and why this might have happened.

Taking this piece of paper as a starting point transform it to reflect your recent experiences.

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SIS FORSCREAM

SIS FORSCREAM


Francis BaconThree Studies for Figuresat the Base of a Crucifixioncirca 1944

“I like, you may say, the glitter and colour that comes from the mouth, and I’ve always hoped in a sense to be able to paint the mouth like Monet painted the sunset.”

Francis Bacon, 1975, quoted in David Sylvester, Interviews with Francis Bacon, Thames and Hudson, 1987.

Use your tongue to explore the shapes and the forms of your mouth.What do they feel like?Hard, soft, shiny, ridged, curved?Use your pencil to translate what you can feel into a life-size drawing of your mouth.

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TIS FORTOUCH

TIS FORTOUCH


Ronald MoodyMidonz 1937

Peter PeriStalin I 1942

Close your eyes.

With one hand hold your pencil, with the other use your finger to begin a journey from the top of your head, down your forehead, your nose, over your lips, down your chin and neck. All the time your finger is running over your face track the movement with your other hand by drawing every undulation on this A4 paper.

Open your eyes.You have drawn your profile. How does your drawing compare with Midonz or Stalin I?

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UIS FORUPWARDLY MOBILE

UIS FORUPWARDLY MOBILE


Martin CreedWork No. 233 2000The Lights Going On and Off 2000Work No. 850 2008

A4 paper is both ubiquitous and useful but often undervalued.

In his art practice Martin Creed uses existing materials that are ordinary and everywhere including A4 paper (crumpled), lights (going on and off) and people (running). Their status is transformed by their location and their intent.

During your visit there will be people in the Duveen Galleries but they won’t be allowed to run, lights are going on and off but they’re not currently considered art. You can go to the Prints and Drawings Rooms to see Creed’s Work No. 233* but you have to make an appointment in advance.

*(Please note the artwork contains language that some people might find offensive).

We have given you a sheet of A4 paper with information and instructions.

Transform this piece of paper with an action into something different and display it discretely.

All displays are temporary and you must take it with you when you go.

Will it still have value?

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VIS FOR VERB

VIS FOR VERB

Activity by Emma Hart in collaboration with Schools and Teachers Tate London Learning

What are you doing in your head when you are looking at an artwork?

Are you:

NoticingComparingRememberingWorrying

Work in pairs, one of you will be the scribe.

Choose an artwork and stand in front of it with your partner.

Say all the things that you are doing, with your partner listing them down for you.

Delve past the obvious, think aboutwhat you are thinking and how!

Swap over and then compare your lists.

Share your list with others by standing in front of your chosen artwork and reciting your list out loud.

Are you performing?

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WIS FORWOODROW

WIS FORWOODROW


Bill WoodrowCar Door, Ironing Board andTwin-Tub with North AmericanIndian Head-Dress 1981

In this artwork Bill Woodrowtransforms three objects hefound discarded in Brixtoninto something you wouldexpect to find in North Americaor in a child’s dressing up box.He adds nothing and takesnothing away but through aprocess of tearing and cuttinghe creates a new object whilstleaving the originals stillrecognisable. Physicallyconnected by something akinto an umbilical cord they alsonow link two cultures.

Using your piece of A4 paperand following the same rulestransform it into something else.

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XIS FORCROSSING THE LINE AND EX-ART

XIS FORCROSSING THE LINE AND EX-ART


Mark WallingerState Britain15 January–27 August 2007

In three rooms at the North West end of the gallery you will find traces of a line of tape left behind on the floor. This line marked the limits of legal protest within a 1km radius of Parliament Square and was installed in 2007 as part of Mark Wallinger’s installation State Britain.

This artwork faithfully recreated, in every detail, peace campaigner Brian Haw’s Parliament Square Protest against war.

Look at the art that currently inhabits the space. Do you have something passionate to say about its content? What would your proclamation be?

Turn this A4 paper into a placard by writing your message on it. Hold it aloft to make your protest public. Then move to the other side of the line and hold it aloft again.

Is your placard a protest or just performance art? Is it possible for art to break the law?

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YIS FORYOU ARE BEING SEEN

YIS FORYOU ARE BEING SEEN

Activity by Jo Addison and Natasha Kidd in collaboration with Schools and Teachers Tate London Learning

Richard LongA Hundred Mile Walk 1971-72

Richard Long uses words to describe the sounds that surround him on a journey.

Use this sheet of paper to write, in large text, words that describe the sounds around you in the gallery. Now find one of the surveillance cameras that observe the activities in the gallery spaces. The footage is monitored by staff in the gallery’s Control Room. Hold up your words to the camera, adding sound to their observations.

Supported by

IS FORZOOMING IN

Z

ZIS FORZOOMING IN

Activity by Hana Tait in collaboration with Schools and Teachers Tate London Learning

William Powell Frith The Derby Day 1856-8

In Victorian times Derby Day was a huge social occasion. William Powell Frith has painted lots and lots of different people visiting the Derby. Roll this card into a telescope and use it to zoom in on individual faces.

Find someone who is excited to be here. Find someone who has business to attend to. Find someone who is up to no good.

Supported by

a is for britain

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