Heide Sculpture Park - Heide Museum of Modern Art · Heide Sculpture Park Discovering art in...

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HEIDE EDUCATION © Heide 2011 For personal use only – do not store, copy or distribute Page 1 of 21 Heide Sculpture Park Discovering art in outdoor spaces Anish Kapoor In The Presence of Form II 1993 (Foreground) carved Portland stone 174 x 170 x 110 cm Untitled 1993 (Front) carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art Inge King Rings of Saturn 2005-2006 (Background) stainless steel 450 x 450 x 450 cm Heide Museum of Modern Art This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means.

Transcript of Heide Sculpture Park - Heide Museum of Modern Art · Heide Sculpture Park Discovering art in...

Page 1: Heide Sculpture Park - Heide Museum of Modern Art · Heide Sculpture Park Discovering art in outdoor spaces ... Inspiration was taken from international sculpture parks visited by

HEIDE EDUCATION

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Heide Sculpture Park Discovering art in outdoor spaces

Anish Kapoor

In The Presence of Form II 1993 (Foreground)

carved Portland stone

174 x 170 x 110 cm

Untitled 1993 (Front)

carved limestone and pigment

52 x 90 x 70 cm

Heide Museum of Modern Art

Inge King

Rings of Saturn 2005-2006 (Background)

stainless steel

450 x 450 x 450 cm

Heide Museum of Modern Art

This Education Resource has been produced by Heide Museum of Modern Art to

provide information to support education institution visits to Heide Museum of

Modern Art and as such is intended for their use only. Reproduction and

communication is permitted for educational purposes only. No part of this

education resource may be stored in a retrieval system, communicated or

transmitted in any form or by any means.

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Sculptures in the Park

Dennis Oppenheim (1953–2011)

Basket and Wave (From Dreams

and Nightmares. Journey of a

Broken Weave) 1984

Materials:

_________________________

488 x 549 x 792 cm

Heide Museum of Modern Art

Gift of the artist and Diana Gibson

1985

Current location: Connie Kimberley

Sculpture Park

At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park

was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer.

Displaying sculptures throughout the park would take full advantage of the Museum's unique

location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981

"The landscape is an integral part of Heide and most important in its ethos. It provides the

opportunity and responsibility to develop a gallery in a setting, the like of which is rare anywhere in

the world'.

Inspiration was taken from international sculpture parks visited by Palmer during the early 1980s

including the Kröller-Müller Museum in Otterlo, the Netherlands; Louisiana Museum in Humlebæk,

Denmark; Storm King in the state of New York, USA; and the gardens of the Maeght Foundation in

Saint-Paul-de-Vence, France. In 1981, two outdoor works placed within the grounds by John and

Sunday Reed remained: Ron Upton's Three Forms (1964) and David Tolley's Man/Woman (c.1966)

and these provided a starting point for the development of the sculpture park which today has over

thirty pieces.

The main focus for outdoor sculpture was on Australian art but with the selective inclusion of

significant works by international artists. In 1985 Palmer commissioned renowned American artist

Dennis Oppenheim to make a large work for the park called Basket and Wave (from Dreams and

Nightmares. Journey of a Broken Weave) (1984). A site was carefully chosen for the work, midst a

clearing surrounded by tall trees.

Sue Cramer

Heide Curator

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Fiona Hall A Native Rockery Garden 2009 Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Fiona Hall (1953—)

A Native Rockery Garden 2009

Materials:

_________________________

variable dimensions

Heide Museum of Modern Art

Current location: Tony and Cathie

Hancy Sculpture Plaza

Circle the words that best describe this sculpture:

smooth even hollow polished colourful

irregular dull pointy energetic bright

abstract rough realistic slick grimy

hard round grainy lifeless organic

hairy abrasive itchy natural solid

List some other

words: ____________ ____________ ____________ ____________

How has and will weather and the passage of time changed A native rockery garden’s appearance?

Does it made the sculpture more interesting or not? How might it look in 20 years from now?

This sculpture requires different care to other sculptures at Heide. How do you imagine that Heide

takes care of and maintains this artwork? Does this alter our understanding of what can be called

art? Do you think this artwork could be moved to another site? How?

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In this artwork Fiona Hall acknowledges John and Sunday Reed’s commitment from the early 1960s

to plant only native species on the property. Hall researched the Reeds’ library and considered their

interests in the work of influential historical gardeners such as Edna Walling, and international

figures Eleanour Sinclair Rohde, Vita Sackville-West and Gertrude Jekyll.

These are some of the plants Fiona Hall has used in this garden; Banksia blechnifolia, Eremophila

glabra 'Kalbarri Carpet', Grevillea linearifolia weeping, Lasiopetalum indutum, Casuarina glauca

prostrate, Eucalyptus caesia (Silver Princess), Leucophyta brownii (Cape le Grande), Lomandra glauca

(Aussie Blue Grass), Xanthorrhoea johnsonii, Leucophyta brownie, Themeda triandra 'Mingo'

(Kangaroo Grass), Actinotus helianthi (Flannel Flower), Geleznowia verrucosa and Swainsona

formosa (Sturt's Desert Pea), Anigozanthos 'Bush Diamond' and Anigozanthos 'Bush Fury' (varieties

of Kangaroo Paw)

Sketch two views to create a map for a garden sculpture in the spaces below.

What sorts of plants would you use? Do they hold special significance to you or other people? What

textures and colours would you look for? If you don’t know the names of plants, how could you find

them out?

In addition to the sculptural objects and installations for which she is acclaimed, Fiona Hall has made

some temporary and permanent gardens which reflect her interest in botany and its evolutionary,

social and political histories. Environmental fragilities and our increasingly fractured relationship

with the natural world are concerns which underpin much of her work.

Fiona Hall’s garden is the second artist’s garden commissioned by Heide, the first being the now well

established Karakarook’s Garden (2005-06) by Lauren Berkowitz which is located near the Oak tree

at the back of Heide I.

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Neil Taylor Theoretical Matter 1999-2000 Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Neil Taylor (1945—)

Theoretical Matter 1999-2000

Materials:

_________________________

304 x 390 x 320 cm Heide Museum of Modern Art

Mapping and Reflection: A Garden

Transformed, initiated through Arts

Victoria's Victoria Commissions

Program, funded by the Community

Support Fund of the Victorian

Government

Current location: Connie Kimberley

Sculpture Park

This sculpture was constructed by one person with the help of an engineering firm who bent the

steel. Describe the materials and techniques used to construct this work. Where else have you seen

these materials used?

Can you see a natural form in the surrounding environment that resembles this sculpture? What is

it? What are the similarities? What are the differences?

How has weather and the passage of time changed its appearance? Has it made the sculpture more

interesting or not?

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Do you think the care and preservation of this sculpture is an issue for Museum staff or for visitors?

Why or why not? What is the job title of the person who looks after art works in a museum?

If you were given a total budget of $1,000 per year to maintain this sculpture, decide which of the

following services you would purchase for next year. Provide reasons for your choice.

SERVICE RECOMMENDED COST YES/NO REASON

Surface clean Every 6 months $200

Trim surrounding

hedges Every 3 months $100

Coat with

rustproof sealer Once per year $1,000

Remove wooden

debris Every 4 months $200

Total costs to maintain this sculpture

over a year:

$_____

As a student Neil Taylor was interested in American Abstract Expressionist painting and started

working with grids and colour patches. Taylor became increasingly frustrated with paint as a medium

– ‘it yields so readily’. He wanted to use his ‘full strength, rather than just a wrist action with

painting’, so switched to sculpture. He likes the ‘toughness’ of the materials he uses – ‘I struggle with

them – it's like the mind, lively, engaging, suggestive, evocative every minute’.

This is one of two works commissioned under the title ‘Mapping and Reflection: a Garden

Transformed’, the other work being Stein Path by Janet Burchill. Stein Path is the same length as the

holly hedge and runs along its southern side. The hedge was planted by John Reed, Sunday Reed and

Sidney Nolan in 1946 to protect the bird life from Sunday Reed’s cats. The location of Theoretical

Matter, close to the northern side of the hedge, led the artist to refer to it as an ‘industrial holly

hedge’. The two works can be thought of as mapping and reflecting the hedge.

Theoretical matter was constructed in a warehouse, which was a ‘big, grimy industrial space’, and

according to the artist, ‘it felt right there’. But when the sculpture was moved to Heide's garden

setting, Taylor was surprised by how its ‘rhythms’ and ‘perforated quality worked comfortably with

the surrounding foliage’.

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Rick Amor Running Man 1996-2005

Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Rick Amor (1948—)

Running Man 1996-2005

Materials:

__________________________

180 x 175 x 65 cm

Current location: Connie Kimberley

Sculpture Park

Heide Museum of Modern Art

Purchased with funds donated by

an anonymous donor and Christine

Collingwood 1995

Current location: Connie Kimberley

Sculpture Park

Make the pose that the figure is in, with your own body. Describe how it feels to stand like this. Do

you this these feelings are expressed in the final artwork? How is texture and material related to this

emotional state?

The running figure is a signature motif in Amor’s work. It was originally painted in 1983-84 and has

subsequently been reworked many times in paintings, woodcut prints, small maquettes and larger

cast figures. Looking at the location of this figure, what do you think Running Man is running to or

away from?

The technique used by Rick Amor to create this sculpture is called the ‘lost wax’ method, which is

outlined below:

i. Sculpture is made from plaster (clay or wax can also be used).

ii. Plaster mould, inlaid with latex, is created in sections from the sculpture.

iii. Plaster mould is assembled; wax poured into mould creating a wax layer a few centimetres

thick; plaster mould is removed to reveal a perfect copy of the original sculpture in wax.

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iv. Hollow wax sculpture is coated in liquid ceramic slurry; when dry, this becomes a ceramic

mould, impenetrable by heat.

v. Molten bronze is poured into the ceramic mould replacing and burning out the wax.

vi. When cooled, the ceramic shell is chipped away revealing a bronze sculpture that is finished

and sealed.

The following images of the lost wax method are not in order. Please number them correctly.

� � � � � �

Originally Running Man was placed at ground level thus appearing to be literally running through the

grass. However the artist changed the base in 2005. Amor explained his decision to remake the

base:

‘I was never quite happy with the base or the supporting leg so I reworked the leg in plaster

and then it was recast and reassembled. The base was (originally) square, now it is a longer

base and the figure is slightly off-centre. It gives the figure more of a forward movement

and the steel box it sits on raises the figure enough to give it more presence and bit more

drama – to take it a little bit out of our world.’

Rick Amor, The Age, 24 May 2005

Imagine what the work was like to view when the figure was at ground level. Describe some of the

differences.

Rick Amor was raised near the beach on Long Island, Frankston, Victoria. He displayed an early talent

for drawing and painting, and enrolled in a Certificate of Art course at Caulfield Institute of

Technology in 1964. In 1966 he began an Associate Diploma of Painting at Melbourne’s National

Gallery School, where he was taught by John Brack, Ian Armstrong, Murray Walker and Marc Clark.

In the 1970s Amor began his professional career as an artist, also working as a cartoonist and book

illustrator to support his art. He produced many posters, banners and cartoons for the Australian

Labor Party and Trade Union movement, and his illustrations featured in novels, children’s books and

magazines such as Overland.

Since his first exhibition at the Joseph Brown Gallery in 1974, Amor has held over 50 solo exhibitions,

showing annually at Niagara Galleries, Melbourne for more than twenty years. Several Australia

Council studio residencies have allowed the artist to work in London, New York and Barcelona, and in

1999 he was appointed the official war artist to East Timor by the Australian War Memorial.

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Anthony Caro Sidestep 1971

Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Anthony Caro (1924—)

Sidestep 1971

Materials:

_________________________

130 x 230 x 165 cm

Heide Museum of Modern Art

Gift of Tom and Sue Quirk 1998

Current location: Connie Kimberley

Sculpture Park

Can you see an architectural form in the surrounding environment that resembles this sculpture?

What is it? What are the similarities? What are the differences?

Sidestep is a sculpture which celebrates the use of steel in the Industrial Age and is to be viewed

from a number of angles. Identify two of the shapes created in the negative space as you move

around the sculpture and draw them.

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Describe the materials and techniques used to construct this work. Where else have you seen these

materials used? Do the materials relate to other sculptures you have seen at Heide? Which ones?

What if the works were carved in another material, for example, stone or timber? Would they be as

successful? Why or why not?

Caro is considered to have developed a new sculptural aesthetic by challenging the tradition of

displaying sculptures on a pedestal. Instead of elevating his sculpture on a plinth, he placed them

directly on the ground, at the same level as the viewer. For him, this was a way of more directly

engaging the viewer in an experience of the work. In what way would Sidestep be different if it was

mounted on a plinth? Would we need to move our bodies in a different way to view the work? How

would that impact on our understanding of the work? Why do you think the work is titled Sidestep?

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Anish Kapoor In the Presence of Form II 1993

and Untitled 1993 Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Anish Kapoor (1954—)

In the Presence of Form II 1993

Materials:

__________________________

174 x 170 x 110 cm

Untitled 1993

Materials:

__________________________

52 x 90 x 70 cm

Heide Museum of Modern Art

Acquired through the Georges

Mora Foundation with funds

donated by the Victor Smorgon

Charitable Trust

Current location: Tony and Cathie

Hancy Sculpture Plaza

Circle the words that best describe this sculpture:

smooth even hollow polished colourful

irregular dull pointy energetic bright

abstract rough realistic slick grimy

hard round grainy lifeless organic

hairy abrasive itchy natural solid

List some other

words: ____________ ____________ ____________ ____________

What do the shapes of these sculptures remind you of?

Throughout his career Anish Kapoor has explored what he sees as deep-rooted metaphysical

polarities: presence and absence, being and non-being, and the solid and the intangible. Many of his

sculptures, like those at Heide, are made of solid stone with carved apertures and cavities. In In

Presence of Form II, a curved egg-shaped form nestles within a cavity, its smoothness contrasting

with the roughness of the sculpture’s outer surface. The Kapoor works are two of Heide’s

international sculpture acquisitions which include works by John Atkin, Anthony Caro and Dennis

Oppenheim.

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Inge King Rings of Saturn 2005-2006

Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Inge King (1918—)

Rings of Saturn 2005-06

Materials:

__________________________

450 x 450 x 450 cm

Heide Museum of Modern Art

Commissioned through the Heide

Foundation with significant

assistance from Lindsay and Paula

Fox 2005

Current location: Sir Rupert Hamer

Garden

Are the materials Inge King has used to make Rings of Saturn easy to maintain? Are they durable and

hard wearing? Where else you have seen these materials used?

Inge King considers her art to be ‘non-representational’ not abstract. Is the title of this work

important to the way we understand it? How does it influence what we think about this sculpture?

Inge King is one of Australia’s most eminent sculptors. She attended the Berlin Academy of Fine Art

from 1936 to 37 and lived in Glasgow 1939 where she had an awareness of Henry Moore’s work. In

the late 1940s, prior to moving to Australia to marry artist Graeme King, Inge King lived in New York

where she mixed in the circles which included Mark Rothko, Barnett Newman and Walter Gropius.

This work was enlarged to the artist’s specifications from a maquette. Prior to making a maquette,

King creates very small craft board models. She prefers to use maquettes and models rather than

drawings to work out her ideas as she feels drawings inhibit her process. Rings of Saturn comprises

four intersecting rings and semicircular sections. The dynamic forms and play of light on the surface

suggests movement. The material, stainless steel, is an essential part of the concept. The brushed

surfaces create a scintillating effect, forever changing with the rotation of the sun. A dramatic effect

is achieved by lighting the sculpture at night.

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Ronald Upton Stages 1, 2 & 3 1981 Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Ronald Upton (1937—)

Stages 1, 2 &3 , 1981

Materials:

__________________________

239 x 126 x 83 cm,

180 x 122 x 80 cm,

162 x 100 x 56 cm

Heide Museum of Modern Art

Purchased from John and

Sunday Reed 1980

Current location: Connie

Kimberley Sculpture Park

Circle the words that best describe this sculpture:

smooth even hollow polished colourful

irregular dull pointy energetic bright

abstract rough realistic slick grimy

hard round grainy lifeless organic

hairy abrasive itchy natural solid

List some other

words: ____________ ____________ ____________ ____________

Draw the sculptures in order:

Why did you choose number 1?

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As a drama activity, work with your group to make a human sculpture.

Choose one of the three stages and recreate it using the people in your team.

Think of a song title that you could use to name or describe your sculpture.

Name at least two ways weather and time might have changed the appearance of these sculptures.

Do you think these sculptures fit into their environment? What are your reasons?

Ronald Upton lives and works in outer Melbourne. His interests cross sculpture, painting, drawing,

and printmaking. Works in the 1960s integrated experiments with materials to create light and colour

in form.

The skeleton or ‘armature’ for this artwork was constructed from steel rods and chicken wire, the

figure is modelled by trowelling the ciment fondu over this substructure. Newspaper was used to

provide support during the modelling. The ciment fondu is quick-setting, requiring the artist to work

quickly and surely because there is little opportunity for reworking or repair. The finished surface is

resistant to minor knocks and abrasion. A range of surface finishes can be obtained, including a

powder pigment to give the surface a bronze-like appearance.

The placement of the figures, both relative to each other and to the surrounding landscape, is

significant. The viewer is able to move around and between the figures, observing the changing

shapes and spatial relationships between the figures themselves and their surroundings. Such an

experience of three-dimensional form is particular to sculpture and not available to the viewer of

paintings.

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Jeff Thomson Cows 1981 Looking at the sculptures, their labels and surrounding environment answer the following questions

and fill in the missing details.

Jeff Thomson (1957—)

Cows , 1981

Materials:

__________________________

Various dimensions, 119 x 192 x

91cm

Heide Museum of Modern Art

Purchased 1987

Current location: Connie Kimberley

Sculpture Park

These sculptures embody the spirits of Cappuccino and Espresso, two of the dairy cows owned by

John and Sunday Reed when they lived at Heide I. Legend has it that when the Reeds’ cows died,

each was buried with an acorn from the oak tree near Heide I.

Look around you. What evidence can you find that might support this story?

Look at the materials and methods used by Jeff Thomson to create this artwork. How have the

materials been reconfigured, manipulated, coloured? Are the materials new or old? What

construction methods have been used?

How suitable do you think Thomson’s choice of materials is for this particular work? Why?

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Imagine if Heide decided to relocate Jeff Thomson’s Cows to Federation Square, opposite Flinders

Street Station. Do you think this would be a good idea? Explain why. Can you think of another

suitable location or environment for these artworks?

Imagine if you were to adopt a cow and give it a name. Look carefully at your cow for its individual

and distinctive characteristics. Invent your own myth or story about your cow. Create a role play to

act out your cow myth.

Who is it about?

What happened (what's the story)?

When did it take place?

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Where did it take place?

Why did it happen?

How did it happen?

Jeff Thomson currently resides in Helensville, NZ, where he has a studio and works as a full-time

artist. Jeff is best known for sculpting with corrugated iron. These cows were part of a larger herd of

15 cows made in Hawke’s Bay, New Zealand and exhibited at Heide in 1987. These cows also remind

us that the property, prior to being owned by the Reeds was a dairy farm.

Jeff Thomson also made a corrugated iron HQ Holden Stationwagon 1991-92 with its radio aerial

bent into the shape of Australia, which he drove around Australia and New Zealand for three years,

before leaving it at Museum of New Zealand Te Papa Tongarewa.

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Other sculptures to look for at Heide

Paul Hopmeier (1949—)

Savage 1982

imperite, cold zinc and steel

193 x 214 x 93 cm

Heide Museum of Modern Art

Purchased 1983

Current location: Heide I Garden

Lenton Parr (1924–2003)

Untitled 1970

welded steel, enamel paint

215 x 167 x 120 cm

Heide Museum of Modern Art

Gift of Trevor and Christine

Tappenden 2004

Current location: Heide I Garden

Alex Selenitsch (1946—)

Tree of Knowledge Circa 1989

painted, laminated timber

214 x 122 x 11 cm

Heide Museum of Modern Art

Bequest of Barrett Reid, 2000

Current location: Heide I Garden

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Other sculptures to look for at Heide

David Tolley (1936—)

Lady in Waiting 1966

ciment fondu

183 x 150 x 90 cm

Man/woman Circa 1966

cement fondu

193 x 125 x 90 cm

Heide Museum of Modern Art

Purchased from John and Sunday

Reed 1980

Current location: Connie Kimberley

Sculpture Park

Andrew Rogers (1947—)

Meridian Foundries

Unfurling 2006

bronze

270 x 125 x 125 cm

Heide Museum of Modern Art

Gift of the artist 2008

Current location: Connie Kimberley

Sculpture Park

Janet Burchill (1955—)

Stein path 1999-2000

fired terracotta bricks

10 x 30 x 3640 cm

Heide Museum of Modern Art

Mapping and Reflection: A Garden

Transformed, initiated through Arts

Victoria's Victoria Commissions

Program, funded by the

Community Support Fund of the

Victorian Government

Current location: Connie Kimberley

Sculpture Park

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Supporting Education Programs

Heide Education is committed to providing a stimulating and dynamic range of programs for

students and educators at all levels to complement Heide's exhibitions, collection, history and

gardens. Programs range from tours and art-making workshops to intensive forums with artists and

other arts professionals. Designed to broaden and enrich curriculum requirements, Heide’s programs

and online resources aim to inspire a deeper appreciation of art and creative thinking.

School Excursions:

Exploring & responding tours

Educational tours are tailored to meet individual student group capabilities and needs across all year

levels from K-12. This can be taken as a stand-alone excursion or combined with a Creating and

making workshop (see below for more information).

Heide History

Students learn about Heide’s unique history as the birthplace of Melbourne modernism with guided

tours of the 16 acre site, including the famous ‘scar’ tree, Heide I heritage-listed farm-house and

Heide II modernist architecture, the Sculpture Park and Kitchen Garden. Students discuss John and

Sunday Reeds’ art patronage, the lives and practices of the artists known as the Angry Penguins,

Sidney Nolan, Albert Tucker, Joy Hester, Arthur Boyd and John Perceval.

Heide Collection

Looking at highlights of the Heide collection displayed in Heide II, students gain an insight into the

Australian modernist art movement through to contemporary art practice. Students will be provided

with an immersive experience and opportunity to analyse and discuss the ways in which artists from

different times have created aesthetic qualities in artworks, communicated ideas and developed

styles.

VELS: Personal learning, thinking processes, civics and citizenship

ARTS DOMAIN: Exploring and responding

VCE ART: Analytical frameworks, art and cultural context, interpreting art, discussing and

debating art

VCE STUDIO ART: Developing and interpreting art ideas, styles and materials. Professional practice,

art industry contexts

Creating & making workshops

Practical art-making education programs are conducted in the purpose built Sidney Myer Education

Centre. Creative programs are tailored to meet student groups’ capabilities and needs across all year

levels from K-12. Tasks can be extended or designed to be a collaborative exercise to encourage

team building, developing communication and negotiation techniques.

VELS: Physical, personal and social learning, communication, creativity

ARTS DOMAIN: Creating and making

VCE ART: Art making, cultural expression and personal meaning

VCE STUDIO ART: Exploration of materials and techniques

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HEIDE EDUCATION

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Education Resources

Heide offers online Education Resources to accompany our major exhibitions. These resources are

supplementary documents that include artist and exhibition information, colour reproductions of

key artworks and exhibition-related questions and activities tailored to the VELS and VCE curriculum.

Resources are regularly added to the Heide website and are available at

heide.com.au/education/resources.php

Bookings

Bookings are essential for all programs.

For more information, visit heide.com.au/education or contact Heide Education: T 03 9850 1500

[email protected]

Teachers are encouraged to visit Heide prior to a booked school visit (complimentary ticket

available) to familiarise themselves with the exhibitions and facilities.

Heide is committed to ensuring its programs and activities 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 Education for more information.

Prices and programs may change without notice.

Keep up to date with the latest Heide Education news and special offers by subscribing to the Heide

Education e-bulletin at heide.com.au/subscribe

Heide Museum of Modern Art

7 Templestowe Road

Bulleen VIC 3105

T 03 9850 1500

[email protected]

heide.com.au

Open daily 10am–5pm

Closed Mondays (except public holidays)