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CONTEMPORARY ART AND IDEAS:

SHARING VIEWPOINTS

Welcome to

21st Century Learning – Links to Our Collection.

This online module and supplemental education guide was developed to allow access to

hundreds of digitized images and lesson plans from Glenbow Museum’s collections.

Our hope is to extend our vision of

‘More people, interacting with art, culture and ideas more often.’

Please visit and enjoy 21st Century Learning – Contemporary Art.

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This educator’s package presents insightful information about Glenbow’s collection of

Contemporary Art. The information encourages students to examine artwork from the Glenbow

Museum’s collection and look carefully and critically in order to create dialogue and thoughtful

discussions about the art, its purpose and how its role has evolved throughout the years.

Included in this guide are:

Information on the Art Collections including high-resolution photographs, online and

print readings and resources.

Lesson plans including discussions for looking at primary sources, curriculum

connections and lesson plans for a variety of ages and abilities.

Detailed listing of vocabulary and concepts.

Suggested sources for further research and other information.

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CONTENTS

History of Glenbow Museum

Program purpose

Educational guide purpose

Education Module

Listing of Images

Vocabulary

Curriculum connections

Lesson Plans

Lesson One: Sharing Viewpoints: Learning How to View Contemporary Art

Grade 3 - 12

Acknowledgements

Readings and Resources

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HISTORY OF GLENBOW MUSEUM

Glenbow Museum began with the remarkable vision of petroleum entrepreneur and lawyer Eric

Lafferty Harvie. Mr. Harvie came into his fortune when oil was discovered in 1949 on land near

Leduc and Redwater, for which he held the mineral rights. With this prosperity, he decided to

pursue his favourite passion — collecting — and simultaneously return some of his good

fortune back to the region that had been so generous to him. Mr. Harvie's goal was to collect

the objects representing the history and culture of Western Canada as well as from around the

world.

Eric Harvie began collecting material relating to the history of Western Canada in the 1950s,

developing an extensive collection of art, artifacts, books and archival material from North

America that tell the fascinating story of Aboriginal peoples, frontier exploration, and the

development of western Life. He built on these North American collections with extraordinary

artifacts and art from Asia, West Africa, South America, and islands in the Pacific, eventually

amassing a huge museum collection. Establishing the Glenbow Foundation in 1954, Mr. Harvie's

collection became an eclectic blend of western history and international art and artifacts.

In 1966, Eric Harvie and his family donated his impressive collection of art, artifacts, and

historical documents to the people of Alberta. Today, Glenbow Museum is one of the largest

museums in Canada, playing an essential role in defining Western Canadian culture.

PROGRAM PURPOSE

The intent of Glenbow Museum’s Digitization Project is to infuse Alberta classrooms and

communities with Glenbow Museum’s collection of culture and art. The importance of engaging

viewers in primary source investigation is essential to developing creative thinking, visual

literacy and observational skills.

This program was developed in conjunction with the Glenbow Museum and the Alberta

Government to establish exciting curriculum connections between the Glenbow Museum and

Alberta communities. This program consists of six exhibitions of digitized images from our

collections, educational materials for viewers of all ages and online resources.

We encourage you to spend time with each online exhibition and use these resources.

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EDUCATIONAL GUIDE PURPOSE

The purpose of this educational guide is to assist educators and other viewers with the

incorporation of the Glenbow Museum Digitization Program into the classroom or other

educational site. This guide contains education philosophies for looking at and working with

primary sources, vocabulary on relevant terms, curriculum connections and ways to gather

meaning from the artifacts.

Also included are suggested lesson plans for a more in-depth look at the various areas of

content. The lesson plans include questions to encourage discussion and deeper looking,

inquiry-based activities, extensions and assessment. All of these lesson plans can be adapted to

any age or ability level.

Please take time to preview the educator's guide and enjoy Place: Transformation and Change

… from Glenbow Museum’s Digitization Program.

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EDUCATION MODULE

Aganetha Dyck, Canadian (b. 1937), Sizes 8-46, 1976-1981, wool, wood, metal, Collection of Glenbow Museum;

Gift of Deborah Dyck, 2007, 2007.062.003

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LISTING OF IMAGES

Aganetha Dyck

Canadian (b. 1937)

Sizes 8-46, 1976-1981

wool, wood, metal

Collection of Glenbow Museum; Gift of Deborah Dyck, 2007

2007.062.003

Mark Mullin

Canadian (1969 - )

sockets and valves, 2006

oil on canvas

Collection of Glenbow Museum; Gift of the artist, 2007

2007.123.001

Victor Cycansky

Canadian (b. 1935)

The Creation of Corn and Tomatoes, 1993

fired clay, glaze

Collection of Glenbow Museum; Gift of the Artist, 2007

2007.047.001

Douglas Coupland

Canadian (b. 1961)

Green Soldier No. 1, 2001

fiberglass on aluminum interior frame

Collection of Glenbow Museum; Gift of George P. Hartman and Arlene Goldman, 2007

2007.117.018

Tony Scherman Canadian (b.1950) The New Boss, 1996-1997 (from the series About 1789) encaustic on canvas Collection of Glenbow Museum. Gift of the artist, 2008 2008.122.001

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Mary SCOTT Canadian (b.1948) Spurgalicious, 2000-2001 acrylic painted china set and silverware set Collection of Glenbow Museum; Anonymous Donation, 2007 2007.139.002 Mary SCOTT Canadian (b.1948) 'and then sat down', 2000-2001 oil-painted furniture set Collection of Glenbow Museum; Anonymous Donation, 2007 2007.139.001 Takao TANABE Canadian (b.1926) Masset, 1970 arcylic on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.074.015 John WILL American/Canadian (b.1939) Sads and Happy, 1994 lithograph printed in one colour from one aluminium plate on Arches paper, AP Collection of Glenbow Museum; Gift of the artist, 2007 2007.118.029 Tony SCHERMAN Canadian (b.1950) The Dreams of Robert E. Lee, 2004-2005 (from the series About 1865) encaustic and cornmeal on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.122.003

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VOCABULARY

Abstract – Having only intrinsic form with little or no attempt at pictorial representation or

narrative content <abstract painting

Art - The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power Collage - An artistic composition of materials and objects pasted over a surface, often with unifying lines and color Contemporary Art/Artist –Artists who create contemporary art, i.e. those whose peak of activity can be situated somewhere between the 1970s (the advent of postmodernism) and the present day. Modern Art – Modern art refers to artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. Oil Painting – Is the process of painting with pigments that are bound with a medium of drying

oil — especially in early modern Europe, linseed oil.

Photograph – The descendents of the original inhabitants of North America. First Nations, Inuit,

and Métis peoples have unique heritages, languages, cultural practices and spiritual beliefs.

Photography – A group of people with commonalities that may include culture, language,

values and beliefs, interests, practices and ways of life, history and /or geographically defined

shared space.

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CURRICULUM CONNECTIONS

ART Grades 1 - 6 Reflection: responses to visual forms in nature, designed objects and artworks Depiction: development of imagery based on observations of the visual world. Expression: use of art materials as a vehicle or medium for saying something in a meaningful

way

Grades 7 - 12

Record: Students will acquire a repertoire of approaches to record visual information. Investigate: Students will develop the ability to investigate visual relationships in the environment and in their recorded images. Communicate: Students will demonstrate technical competencies and express individual insights. Articulate and Evaluate: Students will apply visual, analytical and critical skills and develop control and competency. LANGUAGE ARTS 1.1 Discover and Explore 1.2 Clarify and Extend 2.1 Use Strategies and Cues 3.1 Plan and Focus 3.2 Select and Process 3.3 Organize, Record and Evaluate 3.4 Share and Review 4.1 Enhance and Improve 4.3 Present and Share 5.2 Works within a Group

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LESSON PLANS

SHARING VIEWPOINTS: LEARNING

HOW TO VIEW CONTEMPORARY ART

Recommended grades: 3 - 12

Time required: 30 minute class lessons

Materials needed: Images, Questioning Strategies, paper and writing tools

INTRODUCTION

What is contemporary art? Contemporary art is the term used for art of the

present day. Usually the artists are alive and still making work. Contemporary

art is often about ideas and concerns, rather than solely the aesthetic (look of

the work). Artists try different ways of experimenting with ideas and

materials. Contemporary artists use whatever they think illustrates their idea

most appropriately. Nowadays artists have many different methods and

materials to use. Some use painting and drawing but there is also

photography, sculpture, film, new media, live performance, light, sound and

installation. Contemporary art is therefore quite varied. To understand

contemporary art it is imperative to ask questions. This package will provide

basic yet constructive questions students may use to help them come to a

deeper understanding of contemporary art and the meaning behind it.

OBJECTIVES

At the end of this lesson, students will have learned:

The definition of contemporary art, how and

why it’s created and how to look at it

critically in order to decipher the work.

Information on the art and artists included

in this package.

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IMAGES

Please Print in Colour if Possible

Mark Mullin Canadian (1969 - ) sockets and valves, 2006 oil on canvas Collection of Glenbow Museum. Gift of the artist, 2007 2007.123.001

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Mark Mullin Canadian (1969 - ) sockets and valves, 2006 oil on canvas Collection of Glenbow Museum. Gift of the artist, 2007 2007.123.001

Mark Mullin is one of the young generation of artists in Canada who are giving a new voice to abstraction. His work can be associated with works by other artists in Glenbow’s collection such as Jonathan Forrest. Mullin’s approach is a mix of abstraction and representation and it has been said that his attention to touch is distinctive. He has said that sockets and valves possesses a more atmospheric space than his prior works…allowing thinner applications of paint and colour to optically push and pull space. Do you see pushing and pulling of space in this work?

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Victor Cycansky

Canadian (b. 1935)

The Creation of Corn and Tomatoes, 1993

fired clay, glaze

Collection of Glenbow Museum; Gift of the Artist, 2007

2007.047.001

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Victor Cycansky

Canadian (b. 1935)

The Creation of Corn and Tomatoes, 1993

fired clay, glaze

Collection of Glenbow Museum; Gift of the Artist, 2007

2007.047.001

"Back in the 60's when I was working and travelling in Europe [Michelangelo's depiction of God's

hand reaching out to touch Adam] struck me as a memorable image. As a young boy I remember

my grandmother standing in her spring garden, bending over and picking up a handful of garden

dirt. The idea of hands in the garden and [the Michelangelo work] connected in my imagination

and I produced the Creation series." -Victor Cycansky

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Douglas Coupland

Canadian (b. 1961)

Green Soldier No. 1, 2001

fiberglass on aluminum interior frame

Collection of Glenbow Museum; Gift of George P. Hartman and Arlene Goldman, 2007

2007.117.018

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Douglas Coupland

Canadian (b. 1961)

Green Soldier No. 1, 2001

fiberglass on aluminum interior frame

Collection of Glenbow Museum; Gift of George P. Hartman and Arlene Goldman, 2007

2007.117.018

Green Soldier No. 1 is a human-size version of the little toy soldiers that so many children

enjoyed playing with in the past. Like many of the smaller toys that it represents, this big

sculpture wasn’t perfectly formed at the seam, as if the two sides of the mold that were used

to form the soldier weren’t aligned properly. The artist has done this on purpose, to symbolize

how environmental toxins can hurt and mutate people, especially military soldiers in action.

Do you think we would have noticed the shift in the seam if the soldier was as tiny as the toys

it represents? Why is it important that the artist made the sculpture the same size as a

human?

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Tony Scherman Canadian (b.1950) The New Boss, 1996-1997 (from the series About 1789) encaustic on canvas Collection of Glenbow Museum. Gift of the artist, 2008 2008.122.001

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Tony Scherman Canadian (b.1950) The New Boss, 1996-1997 (from the series About 1789) encaustic on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.122.001 The New Boss is one of many paintings from Scherman’s series About 1789, which explores the French Revolution. During the revolution in France the Rooster was a symbol of the common people and appeared on revolutionary flags, even appearing on the state flag during the mid 19th century. The scale of this painting makes real the pride and presence that before the rooster was only able to symbolize. Given that the French revolution gave the country back to the people, the rooster was indeed the new boss.

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Mary SCOTT Canadian (b.1948) Spurgalicious, 2000-2001 acrylic painted china set and silverware set Collection of Glenbow Museum; Anonymous Donation, 2007 2007.139.002 Mary SCOTT Canadian (b.1948) 'and then sat down', 2000-2001 oil-painted furniture set Collection of Glenbow Museum; Anonymous Donation, 2007 2007.139.001

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Mary SCOTT Canadian (b.1948) Spurgalicious, 2000-2001 acrylic painted china set and silverware set Collection of Glenbow Museum; Anonymous Donation, 2007 2007.139.002 Mary SCOTT Canadian (b.1948) 'and then sat down', 2000-2001 oil-painted furniture set Collection of Glenbow Museum; Anonymous Donation, 2007 2007.139.001 When installed the work is arranged in a jostled state, domesticity run amuck, tilted and scattered across the floor, proposing a cross between the Mad Hatter's Tea Party and Disney's Sorcerer's Apprentice. Scott's piece has resonance as a feminist, spirited collision of art and craft, art and life, and art and meaning. Why did the artist paint the patterns she did on the furniture?

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Takao TANABE Canadian (b.1926) Masset, 1970 arcylic on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.074.015

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Takao TANABE Canadian (b.1926) Masset, 1970 arcylic on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.074.015 Warm analogous colours of yellow, orange and pink dominate Masset, 1970, a precise construction of geometric shapes, concentric arches and parallel lines. The geometric composition is playful and draws the viewer into what can be construed as a golden pop-art landscape of rolling hills and blue skies. Constructed as a banner, this work can be hung on a wall or across a corner. Tanabe's take on hard-edge abstraction is witty and subversive both in the way he conjures a subject with abstract elements, and places the tautness of hard-edge imagery onto a soft cloth.

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John WILL American/Canadian (b.1939) Sads and Happy, 1994 lithograph printed in one colour from one aluminium plate on Arches paper, AP Collection of Glenbow Museum; Gift of the artist, 2007 2007.118.029

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John WILL American/Canadian (b.1939) Sads and Happy, 1994 lithograph printed in one colour from one aluminium plate on Arches paper, AP Collection of Glenbow Museum; Gift of the artist, 2007 2007.118.029 In Sads and Happy Will has presented us will a picture of some of the faculty at the University of Calgary. “Twenty One Sad Souls and One Happy One” declares Will in the image. The simple characters and direct humour illustrate a cheeky cynicism. Is this image suggesting a cynical faculty or a cynical artist? Most likely both. Why do you think the artist has included the nationalities of the individuals he’s depicted?

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Tony SCHERMAN Canadian (b.1950) The Dreams of Robert E. Lee, 2004-2005 (from the series About 1865) encaustic and cornmeal on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.122.003

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Tony SCHERMAN Canadian (b.1950) The Dreams of Robert E. Lee, 2004-2005 (from the series About 1865) encaustic and cornmeal on canvas Collection of Glenbow Museum; Gift of the artist, 2008 2008.122.003 The use of encaustic (a painting technique that combines pigment with hot wax), gives Scherman's work an inherent sensuality. In this case, the flesh of the female slave is brutalized and damaged while still retaining a tactile eroticism and delicacy. Through the combination of the title and image the painting suggests that not everyone's motives in the American Civil War were as clear as history may imply. Did General Lee believe whole heartedly in slavery or was his choice to serve with the Confederate army simply loyalty to Virginia, the state he called home?

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ACTIVITY PROCEDURES

SHARING VIEWPOINTS: LEARNING HOW TO VIEW

CONTEMPORARY ART

Recommended grades: 3 - 12

Time required: 30 minute class lessons

Materials needed: Images, Questioning Strategies, paper and writing tools

These activities can be used for a wide age range of students. Some basic questions will be

provided in order to help the students understand and interpret contemporary art. Some of the

Questioning Strategies are more advanced; please use your judgement on your class level.

In order to understand contemporary art one must question the work

critically and constructively. The motive for creating art has changed

over the years; contemporary art is no longer necessarily realistic or

contains an obvious meaning. The viewer must look deeper and

question the work in order to understand the artist’s intent. In this

activity, students will be provided with some critical questions to use

in order to help them further understand the pieces included in this

package. Once the students formulate a questioning strategy for this

type of work, they will come to understand the work in an

enlightened and deeper way and can further use these questioning

tools to interpret many types of art through their lifetime.

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INSTRUCTIONS

1. Split the students into small groups. Print the images

provided – in colour if possible – and give the same image

to each group. (Each image has label copy included in the

package. Please keep the labels for yourself until after the

students have answered the questions)

2. Have the students use the Questioning Strategies in their small groups and allow

them ample time to answer the questions.

3. Once each group has finished with the

image, have them explain their findings

and begin dialogue regarding the piece

and each group’s findings.

Are the answers similar for each group? Did the questioning strategies allow the students to create

a meaningful conversations about the work? Did the students look more critically at the piece with

the help of the questions? Has their opinion of the work changed?

4. Following the class discussion, do the same thing again but give each student an

image. You could use several images throughout the class, but be sure to have a

few students looking at the same images so that you have something to compare,

contrast and discuss.

5. Allow time for the students to discuss their piece but also

tell how they felt about working in a group as opposed to

working on their own. Which did they find easier? Which

did they like better? Was there more freedom to think on

their own or did they like the input of a collaborative group

setting to allow their ideas to blossom.

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QUESTIONING STRATEGIES

These few questions will initiate the thought process for the students. A series of basic

questions such as these, allow students to slow down and look deeper at the work. The

goal of this questioning strategy is to have the students realize that artwork almost

always has meaning … there is a deeper thought process at hand. Allow the students

time to look critically and answer these questions. In groups have the students present

their findings to the rest of the class.

1. Does the work tell a story?

Does the work tell a story? Is there a narrative or story to the work?

Does the work communicate an idea or feeling? If so, what is it? Is it

important?

Are there any links to history that you can make?

Does it make you think of anything else?

Artwork, contemporary or otherwise, sometimes has a very clear narrative that

the artist has used while creating the work. The story comes through clearly and

therefore the work is easy to read. In contemporary art, stories are often used as a

device to talk about issues of the day, personal ideas

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2. Is colour important in the work?

What colours have been used?

Does the colour create any effect or emotion? If so, can you

describe it? How do these colours make you feel?

If different colours had been used would this change the piece for

you? Would it matter? Would it create new meaning?

When looking critically at art, seemingly simple things

like colour can contribute to how the viewer interprets

the work. At first one may assume that the colours

chosen have no apparent meaning, but like in most

contemporary art, the artist’s intent is always there. The

intent is the most important part of their work. A colour,

if changed or altered can completely change the

interpretation of a piece.

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3. How has the work been made?

Describe the techniques the artist has used?

Do the materials used have any meaning or associations? What does this tell you about

the work?

What senses do the materials affect? Is it visual? Do they smell? Can you touch them? Can

you hear anything?

A technique can be interpreted by a style that an artist uses, but it can

also be reflected in the types of materials the artist has chosen to use as

well. Again, the intent behind the materials chosen comes into play.

Everything and anything done in a piece of art is done for a reason; this

includes the techniques and materials. The techniques and materials are

meant to evoke feelings, similar to how a artist uses colour, the

techniques can capture the viewer and bring them in to a state of

emotion. If the materials appear smooth and soft, perhaps the artist

wants you to feel comfort; if they are rough and heavy this may connect

you to another feeling. These devices are used to allow the viewer to

connect to the piece on many levels, like a mirror, it brings the viewers

own emotions in to the piece.

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4. Are there any images, objects, materials or symbols that

are important in the work?

Are there any hidden clues in the work? Sometimes artists include

objects or images that represent something else.

Does the artist want you to interpret what is in the work?

Is there anything in the work that refers to other cultures?

Symbolism and hidden meaning play a significant role in

contemporary art. Artist’s many times will impart meaning in

the work, yet not make it obvious. Some artist’s are more

than willing to provide background knowledge and

information about a piece, where as others will say as little as

possible, allowing the viewer carte blanche to interpret the

work in any way they please. A viewer’s experiences,

memories and feelings will play a significant role in how the

viewer interprets a piece. These personal experiences are

what the artist wants the viewer to add to the interpretation.

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5. Are there any issues in the work?

Is there an underlying theme to the work?

Does the work make you think of anything

important?

Are there any links that you can make to history,

politics or everyday life?

Does the work make you want to investigate

something? If so, what and why?

Many times artists will focus on issues that are surrounding their

everyday lives or important events happening throughout the

world at the time. When looking deeply and critically at a piece of

work, the viewer may find clues that will let allow them to uncover

what the artist is trying to talk about through their work. It may be

a well known issue, or it could be something closer to their own

life. Again, the viewer bringing in their own experiences and

memories allows them to interpret the work in different ways.

This is ok. People may have different reactions and opinions about

the art. This is what it’s for; to create dialogue and discussion. You

may like it or hate it, you may think it’s beautiful or ugly or you

may or may not understand the piece. This is what the function of

art is.

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6. Does the work have a title?

Does the title suggest anything?

Does the title explain anything about the work?

If there is no title why might this be?

Contemporary art can be a

confusing and challenging to

understand. Sometimes an

artist will give clues with their

title. A title can be a very

obvious clue, at times the title

is much like the work and the

artist wants you to work at

figuring out the deeper

meaning of the title and in turn

the work.

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HOW TO LOOK AT ART

SENSORY LOOKING

FINDING THE MEANING IN ART

Recommended for Grades 1 - 6

FIND

An artwork that makes you CURIOUS. What colours, lines, shapes, and textures do

you see?

LOOK DEEPLY

And notice the WORDS AND IDEAS that pop into your head as you OBSERVE the

artwork closely. What is going on in this scene?

USING YOUR SENSES

Use your imagination and walk into the artwork. What PLACE in the artwork have

you walked in to? Are you COMFORTABLE there? Imagine the sounds you might

hear. What do you SMELL AND TASTE? What EMOTIONS come to you in this

place?

YOUR LAST WORD

What is the artist COMMUNICATING to you? Is there a feeling, message or story?

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HOW TO LOOK AT ART

CLAIM / SUPPORT / QUESTION

A REASONING ROUTINE

Recommended for Grades 7 – 12

MAKE A CLAIM ABOUT THE ARTWORK

Claim: An explanation or interpretation of an aspect of an artwork.

IDENTIFY AND SUPPORT YOUR CLAIM

Support: Things you see, feel and know that support your claim.

ASK A QUESTION RELATED TO YOUR CLAIM

Question: Alternative explanations, counter-evidence, puzzles or challenges that

could call your claim, or its support into question.

Take a few moments to look quietly at an artwork. Use the

rountine to helkp frame your thoughts.

Take turns using the routine, so that each person makes a

claim about the artwork, identifies support for the claim and

raises a question about the claim.

Following each person’s report, take a moment as a group to

discuss the artwork in relation to the claim, before moving to

the next person.

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ACKNOWLEDGEMENTS

This project was funded in part by the

Alberta Historical Resources Foundation.

THE GLENBOW MUSEUM WOULD LIKE TO

THANK THEM

FOR THEIR CONTRIBUTION.

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RECOMMENDED READINGS AND RESOURCES

WEBSITES

Alberta Curriculum Standards: education.alberta.ca

Inquiry Based Learning: http://www.glenbow.org/mavericks/teacher/english/inqbl.html

Merriam-Webster Online Dictionary: http://www.merriam-webster.com/

PRINT

Heartney, Eleanor. Art & Today. Phaidon Press, Incorporated. March 2008.

Stallabrass, Julian. Contemporary Art: A Very Short Introduction. Oxford University

Press, USA, March 2006.

LINKS TO COLLECTIONS

To locate the remainder of the collections not provided in this package, please use the following

link:

http://ww2.glenbow.org/search/collectionsResults.aspx?XC=/search/collectionsResults.aspx&TN=OBJEC

TS&AC=QBE_QUERY&RF=WebResults&DF=WebResultsDetails&DL=0&RL=0&NP=255&MR=10&QB0=AN

D&QF0=Audience-mediator2&QI0=Main21cContemp