Things weve noticed over time.A shift in materials and subject matter through critical analysis and understanding of ones work leads to more ambitious and creative results.Approach you work in critical manner.Take charge of your work. Accept responsibility and discover what you might be capable of.Good ideas are ideas that are acted upon. (Work brings more good luck)

This is the time to MOVING BEYOND YOUR FAVOURITE THINGS[you are now learning]

Show 1Tate Britain ExhibitionPainting with Light Art and Photography from the Pre-Raphaelites to the modern ageUntil 25 Sep 2016

Carnation, Lily, Lily, Rose by John Singer Sargent Watch thisTASK 1a

John Singer Sargent 18561925Carnation, Lily, Lily, Rose 18856 Oil paint on canvas174.0cm 153.7cmPortrait of John Singer Sargent, 1920, by Sidney Carter

The written records for the Chantrey Bequest are held in the Royal Academy's Archive. This picture details the agreement to buy John Singer Sargent's 'Carnation, Lily, Lily, Rose' for the nation in 1887

Khan Academy analysis of John Singer Sargent's Carnation Lily Lily RoseWatch this

En Plein AirAlthough artists have long painted out of doors to create preparatory landscape sketches or studies, before the nineteenth century finished pictures would not have been made in thisway.

The plein air approach was pioneered by JohnConstablein Britain c.18131, but from about 1860 it became fundamental toimpressionism. The popularity of paintingen plein airincreased in the 1870s with the introduction of paints in tubes (resembling moderntoothpastetubes). Previously, painters made their own paints by grinding and mixing drypigmentpowders with linseed oil, a much more laborious and messyprocess.

En Plein Air a Coldfall WoodTask 1 Colour studyMaterials: Coloured chalks, willow charcoal, Indian ink, Willow Withies drawing toolSTEP 1 With your teacher you are to go into Coldfall Woods and select a location of visual interest.STEP 2 You are to observe your surroundings closely and respond by trying to capture the light and colour you experience. STEP 3 You are to produce a drawing/painting in the time available. Remember that the light will change and concerns are to capture the changing of the light. Your concerns are those of John Singer Sargents and you need to work quickly but accurately.

TASK 1

Van Gogh worked outside, directly from observation. His drawings make brilliant use mark making as a descriptive tool.Vincent van Gogh. 1853 1890. The rock of Montmajour with pine trees, 1888Pencil, pen and reed pen and brush and ink, on paper 49.1 cm x 61.0 cmX

David Hockney painting en plein air.

David Hockneyb.1937 -

A Bigger SplashAcrylic on Canvas1967242.5 x 243.9 x 30 cmTHINKING TASK How has Hockney used photographs in this painting?

David Hockneys A Bigger Splash is an obvious example of how an artist has used photography in the making of a painting.

Look for other examples of artworks in Tate Britains permanent collect that use photography in some kind of way.Make a list of these works and say how you feel photography has been used.

Show 2Tate Britain ExhibitionConceptual Art in Britain 19641979Until 29 August 2016

Task 1 Evaluate your own practice.

What are you good at?Where do your skills lie?What subject matter are you most interested in?Which medium do you work best in?What do you think you need to learn in order to move your work on from where it currently stands?When do you work best?What is the most purposeful way for you to approach the beginning of a new project?

Look at this and discussTASK 1a

Look at the way in which art movements Futurism, Dada, the Surrealist and others produce manifestos as declaration of their intentions at their very beginnings. Produce your own Manifesto and display it.Ten game changing manifestos

A shift in thinkingPaul Cezanne, photographedby Kerr-Xavier Roussel in January 1906Paul Cezanne (b.1839 d.1906) Mont Sainte-Victoire 1885-87, oil on canvas.

Pablo Picasso, Brick Factory in Tortosa (Factory at Horta de Ebro)1909, Oil on canvas, 53 x 60 cmPablo Picassob.1881 d. 1973

Georges Braqueb.1881 d. 1963

Together Braqueand Picasso forged Cubism.

Marcel Duchamp b.1887 d.1968READYMADESMarcel DuchampFountainDate1917, replica 1964 PorcelainApprox 36 x 48 x 61 cm

Khan Academy Marcel Duchamp Fountain 1917

Watch this

Conceptual ArtArt in which the idea or concept presented by the artist is considered more important than the finished product, if any such exists. Task: Class discussion: What is Conceptual ArtConceptual Art EXPLAINED If you have time come back to watch this film.

Sentences on Conceptual Art by Sol Lewitt1. Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.2. Rational judgements repeat rational judgements.3. Irrational judgements lead to new experience.4. Formal art is essentially rational.5. Irrational thoughts should be followed absolutely and logically.6. If the artist changes his mind midway through the execution of the piece he compromises the result and repeats past results.7. The artist's will is secondary to the process he initiates from idea to completion. His wilfulness may only be ego.8. When words such as painting and sculpture are used, they connote a whole tradition and imply a consequent acceptance of this tradition, thus placing limitations on the artist who would be reluctant to make art that goes beyond the limitations.9. The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.10. Ideas can be works of art; they are in a chain of development that may eventually find some form. All ideas need not be made physical.11. Ideas do not necessarily proceed in logical order. They may set one off in unexpected directions, but an idea must necessarily be completed in the mind before the next one is formed.12. For each work of art that becomes physical there are many variations that do not.13. A work of art may be understood as a conductor from the artist's mind to the viewer's. But it may never reach the viewer, or it may never leave the artist's mind.14. The words of one artist to another may induce an idea chain, if they share the same concept.15. Since no form is intrinsically superior to another, the artist may use any form, from an expression of words (written or spoken) to physical reality, equally.16. If words are used, and they proceed from ideas about art, then they are art and not literature; numbers are not mathematics.17. All ideas are art if they are concerned with art and fall within the conventions of art.18. One usually understands the art of the past by applying the convention of the present, thus misunderstanding the art of the past.19. The conventions of art are altered by works of art.20. Successful art changes our understanding of the conventions by altering our perceptions.21. Perception of ideas leads to new ideas.22. The artist cannot imagine his art, and cannot perceive it until it is complete.23. The artist may misperceive (understand it differently from the artist) a work of art but still be set off in his own chain of thought by that misconstrual.24. Perception is subjective.25. The artist may not necessarily understand his own art. His perception is neither better nor worse than that of others.26. An artist may perceive the art of others better than his own.27. The concept of a work of art may involve the matter of the piece or the process in which it is made.28. Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.29. The process is mechanical and should not be tampered with. It should run its course.30. There are many elements involved in a work of art. The most important are the most obvious.31. If an artist uses the same form in a group of works, and changes the material, one would assume the artist's concept involved the material.32. Banal ideas cannot be rescued by beautiful execution.33. It is difficult to bungle a good idea.34. When an artist learns his craft too well he makes slick art.35. These sentences comment on art, but are not art.

Task:Listen to and make sense of Conceptual Art. Accept that the making of this work, just like all other work you look at and consider is part of Art History and happened as a response to its own time and was made as part of the artists practise.

Making sense of the work is trying to question its meaning and make links to works of the past that created and pushed the boundaries before it. How have these works been embrace by contemporary artists?

Look to build critical and informed understanding/decisions.

Art is a highly specialised form of reflection on and about the world, both materially and conceptually. Sometimes the nature of art is that it is thinking about itself. In the beginning it is a discussion and slow process and discuss that begins to hold fragments of understanding that lead to and engage with an enriched experience of art and an understanding of the world we live in.

Richard Long English b.1945 - Richard Long at M-Shed Bristol. April 2011

Richard LongA Line Made by Walking1967 Photograph, gelatin silver print on paper and graphite on board37.5 x 32.4 cm

Collection of Tate.

A Line Made by Walking is one of Richard Longs earliest works and the first he made by walking, in June 1967. While he was studying at St. Martins School of Art (1967-68), Long took a train heading southwest from Londons Waterloo Station. Once the train had reached open country he got off at the nearest station and walked until he found a suitable field. There he walked back and forth until the trodden grass caught the sunlight and became visible as a single line a forged path.The subsequent photograph records Longs intervention in the landscape. Though no human figure is depicted, the indexical trace od the artist is apparent, marking his brief corporeal presence and action in the field. Handwritten graphite below the photograph, the works title, A Line Made by Walking, followed by, England 1967 describe the sculpture and the place and time of its making, and emphasises how the work exists in the dialogue with its site. Long conceived of A Line Made by Walking as independent of ownership, as a work that was just out there. Later the term public freehold came to be used to denote the status of the works he made in the open countryside. A Line Made by Walking first appeared in photographic form in the portfolio pf conceptual art that Barry Flanagan took to New York in 1969 as a means of introducing to an American audience British artists new conceptual approach. Long never intended the photographs of his early works to be unique, but reserved the right to make a number of different versions. This photographic record therefore exists in a number of iterations, but never as an edition of multiples. With this simple action, Long challenged the existing perceptions of what sculpture could be, expanding its materials and conceptual boundaries. A Line Made by Walking is a record of work made by nothing that disappeared to nothing or, as Long said. It has no substance, and yet its a real artwork.

Conceptual Art in Britain 1964 1979, Pages 26, Tate Publishing.

This formative piece was made on one of Longs journeys to St Martins from his home in Bristol. Between hitchhiking lifts, he stopped in a field in Wiltshire where he walked backwards and forwards until the flattened turf caught the sunlight and became visible as a line. He photographed this work, and recorded his physical interventions within the landscape. Although this artwork underplays the artists corporeal presence, it anticipates a widespread interest in performative art practice. This piece demonstrates how Long had already found a visual language for his lifelong concerns with impermanence, motion and relativity.

This description is from the Tate website.In 1967 Richard Longs A Line Made by Walking was like no other artwork.He made a work by the means of walking through a landscape.

Discuss this idea

Michael Craig-Martin Irish. B.1941 -

Michael Craig-MartinWhat Do Artists Do All Day 1 What Do Artists Do All Day 2 Michael Craig-Martin discussing his work

Discussion: What is it?

Michael Craig-MartinAn Oak Tree1973Glass, water, shelf and printed text.Glass 11.7cm high placed n glass shelf, 0.5 x 45.8 x 12.2 cm,Text 30.5 x 30.5 cmText for An Oak Tree read by Michael Craig-Martin

Listen to this clip.

(To find it stroll down the page about half way down. Its the grey bar just before the text from the piece).

An Oak Tree, 1973 consists of an ordinary Duralex glass filled with water and placed centrally on a glass shelf of the kind that can often be found in bathrooms. The shelf is installed above head height (ideally 253cm above the floor level). Mounted below and to the left is a text that records a conversation between Michael Craig-Martin and a viewer of the work. It rehearses questions, doubts and explanations regarding the transformation that has taken place, whereby the glass of water has become an oak tree. First, the viewer asks for a description of the work. But rather than describe the material objects and their visual appearance, the artist describes what he has done: What Ive done is change a glass of water into a full-grown oak tree without altering the accidents of the glass of water. In this respect , the work of art is neither the glass or the tree, it is instead the recognition of the transformation that has taken place, which is underscored by the belief (of the artist and viewer) that supports it.The work questions the degree of which the facts of material appearance can ever constitute the work of art and, as Criag-Martin later explained, it deals with the most essential characteristic of art, and the only really essential one, which is an aspect of faith and an aspect of thought and, because its a visual art, what it looks like, the appearance of things. Craig-Martin has questioned whether he should be considered a conceptual artist, preferring to think of himself as a perceptual artists; An Oak tree questions the material and conceptual conditions for an artwork through a concentration on the act of perception. Works made the previous year focused on the physical and psychological aspects of viewing a work. Six Views of An Electrical Fan, 1972 and Faces, 1972 use mirrors to complicate the act of viewing a fan or a face and reframe the experience. The viewer in Faces entered one of twelve booths, expecting to see their own face reflected in the mirror, but would instead see the face of a viewer in an adjcent booth.When An Oak Tree was originally exhibited, at the Rowan Gallery in 1974, the interview was printed on a folded card, to be held and read by each viewer. Only later was the text re-set over two pages and mounted on the wall, thereby proposing that the work is completed by the viewer, who looks at and thinks about the work.

Conceptual Art in Britain 1964 1979, Pages 85, Tate Publishing

Transfigurationnounnoun: transfiguration; plural noun: transfigurationsa complete change of form or appearance into a more beautiful or spiritual state.

Discusstask:No doubt you now have a million questions regarding Conceptual Art. Discuss with your teacher the issues that have arisen.You will need to document the Conceptual Art in Britain when you see it next week. Use this discussion time to begin collecting materials, note and understanding that will enrich your experience of the works in the exhibition.

DISCUSSConceptual Art EXPLAINED