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IS FOR BRITAIN

SCHOOLS AND TEACHERS TATE LONDON LEARNING

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IS FOR BRITAIN IS FOR ART IS FOR BRITISH AND BRITANNIA IS FOR CUP OF TEA IS FOR DEBATE IS FOR EYE 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

F GHI J KL M N OP QR S TUV W XYZ

IS FOR FLAT PACK IS FOR GREAT IS FOR HUME AND HOUSEHOLD IS FOR INSERT IS FOR JOURNEY IS FOR KIT AND KABOODLE IS FOR LAYER IS FOR MEMORY IS FOR NARRATIVE IS FOR IS FOR OVERLOOKED AND PERFECTION OBSCURE PLUS ORIGINAL AND OUTLINE OR OTHERS, OBVIOUSLY, OH AND OVERT IS FOR QUESTION IS FOR ROCK DRILL AND RE-PURPOSE IS FOR SCREAM IS FOR TOUCH IS FOR IS FOR UPWARDLY MOBILE VERB IS FOR WOODROW IS FOR IS FOR CROSSING THE LINE YOU ARE BEING AND EX-ART SEEN IS FOR ZOOMING IN

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A
IS FOR ART

Sir John Everett Millais Ophelia 1851-52 John Singer Sargent Carnation, 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. Dont make yourself unwell. Do you prefer being the model or the artist?

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

Supported by

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IS FOR BRITISH AND BRITANNIA

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.

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

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IS FOR CUP OF TEA C CC CC CC CC CCC CCC CCCC CCCCC CCCCC CCCCCC CCCCCCC CCCCCC CCCCCCC CCCCCCC CCCCCCCC CCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCC CCCCCCCCCC CCCCCCCCCCC CCCCCCCCCCCC CCCCCCCCCCC CCCCCCCCCCCC CCCCCCCCCCCC CCCCCCCCCCCCC CCCCCCCCCCCCC CCCCCCCCCCCCCC CCCCCCCCCCCCCCC CCCCCCCCCCCCCCC CCCCCCCCCCCCCCC CCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCC CCCCCCCCCCCCCCCC CCCCCCCCCCCCCCC CCCCCCCCCCCCCCC CCCCCCCCCCCCCC CCCCCCCCCCCCC CCCCCCCCCCCCC CCCCCCCCCCCC CCCCCCCCCCC CCCCCCCCCC CCCCCCCCC CCCCCCCC CCCCCCC CCCCC CCCC CCC CC CC CC C

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IS FOR CUP OF TEA

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

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

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D
IS FOR DEBATE

Sir Hubert Von Herkomer Sir Henry Tate 1897 and Portrait 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 Rotundas 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?

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

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IS FOR EYE

EEEE EEEEE EEEEEE EEEEEEEE EEEEEEEEE EEEEEEEEEEE EEEEEEEEEEEE EEEEEEEEEEEEEEE EEEEEEEEEEEEEEEE EEEEEEEEEEEEEEEEEE EEEEEEEEEEEEEEEEEEEE EEEEEEEEEEEEEEEEEE EEEEEEEEEEEEEEE EEEEEEEEEEEEE EEEEEEEEEE EEEEEEE EEE

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IS FOR FOR EYE

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.

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

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IS FOR FLAT PACK

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

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WHICH OTHER

MAKING PROCESSES

CAN YOU IDENTIFY?

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RETURN YOUR SCULPTURE TO ITS ORIGINAL FLAT PACK FORM TO TAKE AWAY WITH YOU
Activity by Corinne Felgate in collaboration with Schools and Teachers Tate London Learning

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PL A NA SCU LPT UR ET TY HA OU CA NC ON STR UC TO UT OF PI E CE S OF TH AP IS P ER ST U YO AR E IN TH EG AL LER , LO IE S OK S AT CU LPT UR ES ON Y PLA D IS N CO UC STR OU TY RS CU LPT UR TI LOT YS EB NG U YO

YOU ONLY HAVE THIS A4 PIECE OF PAPER

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IS FOR GREAT

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IS FOR GREAT

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.

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

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H IS FOR HUME AND HOUSEHOLD

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H IS FOR HUME AND HOUSEHOLD

Gary Hume The 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.

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

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IS FOR INSERT

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IS FOR INSERT

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.

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

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IS FOR JOURNEY

IS FOR JOURNEY

JMW Turner Find one of Turners 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.

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

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IS FOR KIT AND KABOODLE

The Tate Collection belongs to the nation which means it belongs to you (although you cant 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 paintings 1,690 sculptures 285 reliefs 333 installations 47,653 unique works on paper 13,272 prints on paper 329 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 todays 5%. The next time you return things may have changed.

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

Supported by

LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL 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LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL LLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLLL

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IS FOR LAYER

John Stezaker Mask XIII 2006 Mask 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 youre in, or part of a gallery visitor. Make a drawing or take a photograph of this new image.

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

Supported by

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IS FOR MEMORY

M
IS FOR MEMORY

Bethan Huws Boats 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?

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

Supported by

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Augustus Leopold Egg Past and Present, No.1 1858 Past and Present, No.2 1858 Past 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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OOOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO O O O O O O O O O O O O O O O O O IS FOR O OVERLOOKED AND O O OBSCURE PLUS ORIGINAL AND O OUTLINE OR OTHERS, OBVIOUSLY, O OH AND OVERT O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O OO O O OOO O O O O O O O O O O O O O O OO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO OOO

IS FOR OVERLOOKED 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. Weve chosen one ourselves and on this A4 paper have made an overt reference to it.

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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 dont 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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QQQQQQQ QQQQQQQQ QQQ QQQ QQQ QQQQ QQQQQQQ QQQQQQ QQQ QQQ QQQ QQQ QQ QQ IS FOR QUESTION

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Michael Craig-Martin An Oak Tree 1973 Read Michael Craig-Martins 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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IS FOR ROCK DRILL AND RE-PURPOSE RRRRRRR RRRRRRRRRRRR RR RRRRRRRRRRRRRRRRRR RRRRRRR RRRRRR RR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRR RR RRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRR RRRR R RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RR RRRRR RRRRRRRRRRRRRRRRRRR RRRRRRRR RRRRRR RRR RRRRRR RRRRR RRRRRRRRRRRRRRRRRR RRRRRRRRRRR RR RRRRRR R RRRRRRRRRRRRRR RRRR RRRRRRRR RRR RR RR RRRRRRRR RRRRR RRRRRRRR RRR RR RRR RRRRR RRRRRRRRR RR RR RRRR R RRRR RRRRRRR RRRRRRRRR RR RR R R RRRRRRRRRRRRRRRRRR R RR R RR RRRRRRRR RRRRRRRRR R R RRRRRRRRRRRRR RR RRRRRR RRR RRRRRRRRRR RRRRRRRR R RRRRRRRRRRRRRRR RRR RRRRR RRRRRRRRRR RRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRR RRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRR RRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRR RRRRRRRRRRR RRRRRRR RRRRRRRRR RRRRRRRRRRRRRRRRRR RRRR RRRRRRRRR RRRRRRRRRRRRR RRR RRRRR RRRRRRRR RRRRRRRRRRRR RR RRR RRRRRRRRR RRRRRRRRRRRRRRRR R RR R RRRR RRRRRRRRRR RRRRRRRRR RR RRR R RRRRRRRRRRR RRRRRRRRRRRRRRR RR RR RRRRR RRRRRRRRRRR RRRRRRRRRR RRRRRRRRRRRR RRRRRRRRRRRRR RRRRR RRRRRRRRRRRR RRRRRRRRR RRRR RRRRRRRRRRRR RRRRRRRRRRRR RRRR RR RRRRRRRRR RRRRRRRRRRRR RRRRRR RRR RRR RRRRRRRRRRRRR RRRRRRRRRRRR RR RRR RRRRRRRRRRRRR RRRRRRRRRR RRR RRRRRRRRRRRRR RRR RRRRRRRRRRRRRR RRR RRRRRRRR RRRRR RR RR R RR RR RRR R RRR RR RRR RRR R RR RR RRRR RR R RR RR RRRRR RRRRR R RR RR RRR RRRRRR RR RRR RRRR RR RRRR RRRRRR RRRRRRRR RR RRRRRRRRRRRR RRRRRRRRR RR RRRRRRRRRRRRRR RRRRRRRRR RRRRRRRRRRRRRRR RRRRRRRRRRRR RRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRR RRRRRR RRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRR RRRRRRRRRRRRR RRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRR RRR RRRRRRRRRRRRRRRRRRRRRRRRR R RRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRR RRRRRR RRRRRRRRRRRR RRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRRRRRRRR RRRRRRRRRRRRR RRRRR

IS FOR ROCK DRILL AND RE-PURPOSE

Jacob Epstein Torso 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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Francis Bacon Three Studies for Figures at the Base of a Crucifixion circa 1944 I like, you may say, the glitter and colour that comes from the mouth, and Ive 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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IS FOR TOUCH TTTTTTT TTTTTTTTTTTTT TTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTT T TTTTTTTTTTT TTT TTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTTTTTTTTTTTTT T TTTTTTTTTTTTTTTTTTTTTTTTTTTT T TTTTTTTTTTTTTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTTTTTTTTTTTTTTT T TTTTTTTTTTTTTTTTTTTTTTTTTTTTTT T TTTT TTTTTTTTTTTTT TT TTTTTTTTT TT TTTTT TTTTTT TTTTTTTTTTTT TTTT TTT TTTTTTTTTTTTTTTT TTT TT TTTTTTTTTTTTTTTTTTTTT TT TTTT TTT TTTT TT TTT TTTT TTTTTT TTT TT T T TTTTT TT TT TTT TT TTTTTTTTTTTT TT TTT TTT TT TTT TT TTTT TTTTTTT TTT TT TTTTTTTTTTTTTTTTTTTTTTTTTTTTT TTT T TTTTTTTTTTTTTTTTTTTTTTTTTTTTTT TTTT T TTTTTTTTTTTTTTTTTTTTTTTTTTTTT TTTT TTTTTTTTTTTTTTTTTTTTTTTTTTTT TTTT TTTTTTTTTTTTTTTTTTTTTTTTTT TT TTTTT TTT TTTTTTTTTTTTTTTTTTT TTT TTTTT TTT TTT TTT TTTTT TTT TT TT TT TTTT TTT TTT TTT TTT TTTTTTT TTTT TTTTTTTTTTTT TTTT TTTTTTTTTTTTTTTTTTT TTTT TTTTTTTTTTTTTTTTTTTT TTTT TTTTTTTTTTTTTTTTTTTT TTTT TTTTTTTTTTTTT TTTT TTT TTTTT TTT TTTTTT TTT TTTTTTTTTTTT TTTT TTTTTTTTTTTTTTTT TTTT TTTTTTTTT TTTT TTTTT TTTT TTTTTTTTT TTTTT TTTTTTTTTTTTTT TTTTT TTTTTTTTTTTTTTTTTTTTTTT TTTTTT TTTTTTTTTTTTTTTTTTTTTT TTTTTT TTTTTTTTTTTTTTTTTTTTT TTTTTT TTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTT TTTTTTTTTTTT TTTTTTTTT TTT TTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTT T TTTTTTTTTT T TTTTTTT TT TTTTT TTTT TTTTTTTTTTT TTTTT TTTTTTTTTTTTTTT TTTTTT TTTTTTTTTTTTTTTT TTTTTTTT TTTTT TTTTT TTTTTTTT TTTTTT TTTTT TTTTTTTT TTTT TTT TTTT TTTTTTTT TTTTTT TTT TTT TTTTTTTT TT TTTTT T TTTTT TTTTTTTTTTTT TTT TTTTTT TTTTT TTTTTT TTTTTTT TTTTTTTTT TTT TTTTTTT TTTTTTTTT TT TT TTTTTTT TTTTTTTTTTTTTTTTTTTT TTTTTTTT TT TTTTTTTTTTTTTTTTTTT TTTTTTTT TTT TTTTTTTTTTTTTTTTT TTTTTTTTTTTT TTTTTTTTTTTTTTTT TTTTTTTTTTTT TTTTTTTTTTTTTTT TTTTTTTTTT TTTTTTTTTTTTT TTTTTTTT T TTTTTTTTTTTT TTTTTT TTTT TTTTTTTTTTT TTTT TTTTTT TTTTTTTTT TTTTTTTTT TTTTTTTT TTTTTTTTTTTT TTTTTTTT TTTTTTTTTTTTT TTTTTTTT TTTTTTTTTTTT TTTTTTT TTTTTTTTTTTTTTT TTTTTTT TTTTTTTTTTTT TTTTTTT TTTTTTT TTTTTTT TTTTTTTTTTT TT TTTTTT TTTTTTTTTTTTTT TTTTTTT TTTTTTTTTTTTTTTTTT TT TTTTTTTTTTTTTTTT TTTTTTTT TTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTTTTTT TTTTTTTTTTTTTT TTTTTTTTTTT TTTTTT

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Ronald Moody Midonz 1937 Peter Peri Stalin 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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U U U U U U U U U U U U U U U U U U U U U U U U U U U U U U IS FOR U U UPWARDLY MOBILE U U U U U U U U U U U U U U UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU U U U U U U U U U U U U U U U U U U U U U U UUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUU

IS FOR UPWARDLY MOBILE

Martin Creed Work No. 233 2000 The Lights Going On and Off 2000 Work 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 wont be allowed to run, lights are going on and off but theyre not currently considered art. You can go to the Prints and Drawings Rooms to see Creeds 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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What are you doing in your head when you are looking at an artwork? Are you: Noticing Comparing Remembering Worrying 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 about what 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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Bill Woodrow Car Door, Ironing Board and Twin-Tub with North American Indian Head-Dress 1981 In this artwork Bill Woodrow transforms three objects he found discarded in Brixton into something you would expect to find in North America or in a childs dressing up box. He adds nothing and takes nothing away but through a process of tearing and cutting he creates a new object whilst leaving the originals still recognisable. Physically connected by something akin to an umbilical cord they also now link two cultures. Using your piece of A4 paper and following the same rules transform it into something else.

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IS FOR CROSSING THE LINE AND EX-ART

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Mark Wallinger State Britain 15 January27 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 Wallingers installation State Britain. This artwork faithfully recreated, in every detail, peace campaigner Brian Haws 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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IS FOR YOU ARE BEING SEEN

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Richard Long A 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 gallerys Control Room. Hold up your words to the camera, adding sound to their observations.

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

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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.

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

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