Get documents about "Small Talk 2010-2011 Lighting.indd - Art Gallery of South Australia
Document Sample
Small Talk
A part of me died when dad did. Mum couldn’t work because a few hours later
Tommy was born, my baby brother. He is so cold. He cries often because the
cold air surrounds him. He never really met dad. I’m selling flowers. My brother
is leaning against mum; they’ve both given up hope. I glance behind us. There
is a policeman looking at us. Will he make us go away? I really hope he doesn’t.
It’s raining hard. Oh, how did this happen?
Hannah McDonald, age 11
Selected works of art from the Art Gallery of South Australia
Education Services Resource
SMALL TALK EDUCATION RESOURCE
Education Services at the Gallery would like to invite you to participate
in a very special Small Talk opportunity as part of your Art Gallery
experience. We wish to encourage students to write about the works
of art they have just seen, and then to send them to us. We will select
some of the best writing and hang it next to the work of art as a wall
label.. You can already see some of these ‘blue’ wall labels around the
Gallery. So keep your eyes open for them.
The Small Talk label initiative encourages connections with the Art
Gallery, and enjoyment of the works of art by young people of primary
school age. It invites students to make public their response to the
works of art. The students are asked to write about the exhibits they
have seen after they return to school. Of course it is not intended that
all students respond to all of the exhibits in this way. It is more realistic
to think that students in a class will be stimulated to focus their writing
on one or a few of the key works in the permanent collection.
How does ‘Small Talk’ work?
• Classes of students and their teachers visit the Gallery on an
organised excursion
• the teachers and their students look at, talk about and describe the
works of art. The teachers help their students to respond to the art,
encouraging them to use appropriate language. The teachers help
their students to ‘unpack’ the meaning/s contained within the works.
• The students make notes of their ideas, feelings and the language
they associate with a particular work.
To help all this happen the teachers may use support materials
provided online in the ‘Unpacking Art’ and ‘Unpacking AGSA’
resources via the Learning link on the Art Gallery website
www.artgallery.sa.gov.au
• The ideas and notes are then taken back to school where the students
write a proposed label for display in the Gallery. The teachers can
suggest a number of ways in which the labels can be written. For
example the students might write a poem, an ‘Art critic’s’ view, a
review, personal opinion, or imaginary dialogue. Teachers can help
their students with the process of refining, editing and polishing their
writing.The student’s written work is then sent by fax or email to
Education Services for the selection process.
The student wall labels will be rotated each Term. The deadlines for
entries for 2010 are: 18 June, 24 September, 26 November.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 2
SMALL TALK EDUCATION RESOURCE
Education Services encourage early entries.
All entries must include the name and age of the student, the school,
and teacher contact details.
Entries must be no more than 50 words in length.
The selected student writing will hang alongside Art Gallery of South
Australia’s curators’ wall labels. The student’s name and age will be
displayed with their Art Gallery of South Australia label. The teachers
of students selected to exhibit their work on a label will be informed.
Certificates will be issued to all participating students.
We hope that the promotion of a student ‘voice’ in the Art Gallery will
provide new insights and information for all Gallery visitors, both adult
and children.
Education Services look forward to your participation in this Small Talk
wall label program.
Please note the Art Gallery of SA is undergoing lighting and display
changes to the Australian collection galleries. This project means the
closure of galleries 1-5. A collection of highlights, iconic works from the
Australian galleries is on display in Gallery 6.
Please contact Mark Fischer or Karina Morgan for more information.
Mark Fischer
Education Manager
Art Gallery of South Australia
phone (08) 8207 7033 fax (08) 8207 7070
e-mail: fischer.mark@saugov.sa.gov.au
Images: (front) The pinch of poverty, 1889, Thomas Benjamin KENNINGTON, Britain,
1856-1916, Gift of Charles Drew 1889; (page 2) Education Guide, Kirsty, with Tintinara
Area School; (page 3) Mark Fischer with St Joseph’s School.
Outreach Education is a partnership program between major public institutions and the Department
of Education and Children’s Services. It is managed through the Open Access College, the
government school of distance education.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 3
Gallery 6
SMALL TALK EDUCATION RESOURCE
Fish catch and Dawes Point, Sydney Harbour c1813, Sydney
John William LEWIN
Australia, 1770-1819
Gift of the Art Gallery of South Australia Foundation and Southcorp Holdings
Limited on the occasion of the Company’s Centenary 1988
The artist John Lewin was a trained natural history painter who made
many illustrations of Australian flora and fauna. Several kinds of fish
Lewin officially discovered were named after him, and among them was
a hammerhead shark. Its official (scientific) name is Sphyrna Lewini.
This is the first known oil painting to be made in Australia. The fish
species in this still-life arrangement have all been identified. From the
top: snapper, hammerhead shark, crimson squirrel-fish, estuary perch,
rainbow wrasse and sea mullet.
Focus
• How many of the listed fish do you recognise?
• What story do you think is being told by the artist?
• What impression does this realistic painting of ‘dead fish’ painting
leave on you?
Later
• Imagine that you have just caught these fish at Dawes Point, on
Sydney Harbour. Write a wall label about your day of fishing with
your friends.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 4
Gallery 6
SMALL TALK EDUCATION RESOURCE
A holiday at Mentone
1888
Charles CONDER
Australia, 1868-1909
South Australian Government Grant with the assistance of Bond Corporation
Holdings Limited through the Art Gallery of South Australia Foundation to mark
the Gallery’s Centenary 1981
Charles Conder became a friend and painting companion of Tom
Roberts. Roberts met Conder in Sydney and invited him to join a group
of artists camping and painting outdoors around Melbourne.
Mentone was a popular sea-side spot for people living in
Melbourne. In this painting people have caught the train down for the
day and are dressed 1880s style!
Conder used techniques learnt from Roberts, such as using jetties to
divide up the composition into smaller
sections. An Impressionist device was to use mauves and blues
in the shadowing, replacing the browns and blacks that had been
used in earlier Colonial works. Conder added something which was
contemporary to the time. The woman in the foreground is reading a
newspaper called ‘The Bulletin’.
Focus
• Imagine the same scene today. What changes might there be?
• Notice how Conder has used perspective in his work of art.
Can you find the horizon line and vanishing point in the painting?
• Notice Conder’s use of colour. List the primary and secondary colours
Conder has used to animate the painting.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 5
Gallery 6
SMALL TALK EDUCATION RESOURCE
Evening shadows, backwater of the Murray, South Australia
1880
H.J JOHNSTONE
1835-1907
Gift of Mr Henry Yorke Sparks 1881
This painting shows a twilight scene along a backwater of the Murray
River. There are Aboriginal people in their bark dwelling, and standing
by the water. It was the first painting to enter the Gallery’s collection
and is the most copied. The artist painted one or two very similar
works as well.
It is an extremely smooth and realistic painting. Johnstone was a clever
photographer who painted many of his works from photographs.
It is thought he painted this in London or Paris. This was unusual for
the time.
Compare the way ‘Evening Shadows’ is painted with some of the other
Australian works you look at today.
Focus
• How was the paint applied?
• Are the colours bright or subdued?
• Describe how this use of colour makes you feel.
• Observe the people in the painting. What are they doing?
What mood does the scene set?
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 6
Gallery 6
SMALL TALK EDUCATION RESOURCE
A break away!
1891
Tom ROBERTS
Australia,1856-1931
Elder Bequest Fund 1899
This work was painted in a shearing shed in the Riverina, New South
Wales. It is very much a ‘country’ painting. The subject is a stampede
of sheep racing towards the dam at the bottom right. If the stockman
riding away from us is unsuccessful in ‘cutting them off’, many sheep
will be crushed and drown in the dam.
Roberts never saw this ‘break away’ happen. He travelled through the
area and camped out with drovers - who told him yarns of adventures
in the bush.
Roberts drew the stockman from a ‘model’. He paid a man to sit on a
box with arm and leg outstretched while he drew him in his studio.
Some critics at the time didn’t like this painting because it looked ‘too
Australian’ and the composition (arrangement of everything) was too
loose. What do you think this means?
Focus
• This is a drought landscape. How has the artist indicated this?
• Imagine you are one of the stockmen. What thoughts are going
through your mind right now?
• Roberts’ A break away! is an Australian icon. What does this mean?
• The ‘real Aussie’ is a bushman. It is a man (not a woman).
What do you think of this statement?
• After the European explorers came the pastoralists with their sheep,
cattle and fences. The inland, even by the turn of the century,
retreated further towards Australia’s ‘Dead Heart’. What does this
term mean?
• Some people say that the ‘real’ Australia is inland, not on the coast.
What do you think?
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 7
Gallery 6
SMALL TALK EDUCATION RESOURCE
The Olive Plantation
1946
Dorrit BLACK
1891-1951
Bequest of the artist 1951
Adelaide-born Dorrit Black travelled overseas in the early part of last
century and studied in both London and Paris. Her training in Cubist art
influenced her style.
The subject of ‘The Olive Plantation’ is olive groves in the Adelaide
foothills at Magill. Dorrit Black has not painted this work to look very
real, as in a photo.
The artist has focused on the sculptural forms of the hillsides and the
rows of trees. By reducing details, simplifying the colour scheme, and
adding dramatic interest by use of light and shade, she has made this
work into what we call a modern work of art.
Look for the strong sense of movement created by repeated patterns
and curves. The shape of each olive tree has been simplified (i.e the
details are left out). Notice how the artist has made it easy to see the
overall patterns of the plantation. She has simplified forms and used
bright flat colours.
Focus
• Create a list of the things you can see in this painting.
• The cloud on the horizon takes the eye back to the vanishing point.
• Describe how the rows of olive trees help to show perspective
in the work.
• Are there any other works by Dorrit Black near this one? Is her style
in these works similar or different?
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 8
Gallery 6
SMALL TALK EDUCATION RESOURCE
The Bridge
1930, Sydney
Dorrit BLACK
Australia, 1891-1951
Bequest of the artist 1951
Dorrit Black was an Australian modernist painter who was born and died
in Adelaide. Her painting shows a new way of depicting shapes. Instead
of being rounded and natural there is a geometric shape to the land, the
trees, and the buildings. The bridge is of course geometric in shape.
Spanish artist, Pablo Picasso, had earlier introduced the style of
Cubism to painting, and Black had studied his work in France. She was
also aware of painters such as Cezanne who used geometric shapes.
The Sydney Harbour Bridge is the world’s largest steel arch bridge.
The two half arches were held back in the construction phase by steel
cables anchored underground. On one of the arches a creeper crane
can be seen at work. Two cranes working from either side travelled
slowly forward, laying arch sections in front of them as they progressed.
As the two sections grew closer together excitement grew. Some
people thought that when the last section was put into place the Bridge
would collapse into the Harbour!
For many Australians at the time, the Bridge became a symbol of
Australia as a modern, ‘can do’ nation. The Bridge was a very popular
subject for artists at this time. It was seen as a symbol of the new
Nationalism which emerged in Australia after World War I.
Focus
When this was painted it was considered to be among the most modern
paintings in Australian art.
• Do you think it looks modern now? Is the subject easily recognised?
• Look at the different shapes Black used. Make a list of all the
geometric, organic and abstract shapes you can find in this painting.
Currently off display
Later and on loan
• Research the design and construction of the Sydney Harbour Bridge. as part of a Cubist
• Write a wall label about this Australian icon. exhibition.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 9
Gallery 6
SMALL TALK EDUCATION RESOURCE
Landscape at Pentecost
1929, Sydney
Grace COSSINGTON SMITH
Australia, 1892-1984
South Australian Government Grant 1981
Grace Cossington Smith was one of a number of Australian artists
who early last century experimented with new forms of art expression.
This style of art was given a general name, modern art. Modern artists
used colour in the same way that composers use musical notes. In this
painting the natural colours of the ground, grass and sky have been
exaggerated to give the picture more energy. The warm, earthy colours
of the road are balanced by the cool greens and blues of the hillsides.
All two-dimensional images such as paintings have a sense of space
or distance. In traditional paintings this space is usually deep. Things
look close or distant, or look solid or three-dimensional. In modern style
paintings this space is flattened. Here are some of the things the artist
has done to give the work of art a flatter or more designed look:
• creating outlines around the edges of things
• using brush stokes to make strong surface patterns
• using thick or wide brushes.
This painting uses traditional approaches to composition in that nearest
things are the largest and sit at the bottom of the picture, and distant
things are placed higher. Notice how the composition is divided into
three parts: the road up close, the farmland and hillsides in the middle
distance, and the sky. Objects become smaller the closer they are to
the vanishing point. The vanishing point sits on the horizon line.
Focus
• Can you locate the horizon line and vanishing point in this painting?
• Just imagine all the lines, outlines and edges in this painting are
roadways for your eyes to travel on. Start anywhere and see how far
you can travel without taking your eyes off the painting.
• Can you find the techniques the artist has used to create a modern
style, flattened painting?
• The road is important in this composition. Why do you think this is?
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 10
Gallery 6
SMALL TALK EDUCATION RESOURCE
Recollection of the artist as a small boy riding a goat
1942-43, Melbourne
John PERCEVAL
Australia, 1923-2000
Acquired 1993
This painting shows a little boy riding a goat, although it does not look
exactly like a goat. As the title implies it is a story the artist recalls when
he was a young boy.
It is set in a farmyard scene perhaps similar to the farm where Perceval
grew up in Western Australia, and where his father grew wheat. The old
man with the cart seems to have bags of something on his cart, and it
could be wheat. While some objects in the painting look to be real, the
dogs and the black chook for instance, the goat, the pig and the boy
have strange toothy grins. The little boy stares at us. It is difficult to say
if he is happy or sad. The artist is known to have had a sad childhood.
Perceval later made many ceramic angels that resemble the boy in the
picture. Can you find one of these angel sculptures nearby?
Focus
• How does this painting make you feel?
• Describe the texture used by Perceval to create this painting.
• What story does it tell you about the artist’s childhood?
• Perceval was a friend of artist Arthur Boyd. Does the painting look like
Arthur Boyd’s work or Albert Tucker’s?
• Look at other works of art in this Gallery. They all belonged to a group
of artists who were affected by the Great Depression and the Second
World War. They also followed the style of work favoured by German
painters called Expressionists. One of the points of their work is that
they show emotion. Do you get a sense of this?
Later
• Recount a story about something that made you happy when you
were younger.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 11
Gallery 7
SMALL TALK EDUCATION RESOURCE
Yawk yawk (mermaid figures)
1994, Barridjowkkeng, Arnhem Land, Northern Territory
Owen YALANDJA
Australia, born 1960
Gift of the Friends of the Art Gallery of South Australia 1995
These three mermaid installation sculptures are suspended over
the stairwell. This gives them an unearthly mood, essential for these
acquatic spirits. These are contemporary works of art due to their size
and decoration. Traditional Aboriginal sculptures are generally smaller.
Mermaids are commonly known around the world as ‘young women
with fish tails’. In this Aboriginal story the mermaids are associated with
the Rainbow Serpent, Ngalyod, as they share the same sacred water
holes. One of the stories is that the Ngalyod surprised some women
when he sneaked up and frightened them. The women escaped by
jumping into a nearby waterhole. This caused them to develop fish tails.
It is also said that the Ngalyod is the protector of these mermaids. The
Rainbow Serpent, besides being the creator spirit, is also the law giver
and controls the seasons, particularly the monsoons. Consequently,
he is given due honour and respect. The Aboriginal people are very
careful not to break his taboos, as they fear his revenge.
Focus
• Can you see that the artist has been innovative by combining the
traditional manner of solid colour with fill-in dots for the upper half and
used the x-ray manner of the Western Desert clans for the lower half?
Later
• Locate Arnhem Land on a map of Australia.
• Draw or paint your interpretation of this Creation story.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 12
Gallery 12
SMALL TALK EDUCATION RESOURCE
Frances, Lady Reynell, of West Ogwell
Devon, c1595, London
Robert PEAKE
Britain, c1551-1619
Art Gallery of South Australia Foundation 1998
Here is a portrait of a wealthy woman from the time of Queen
Elizabeth I. In that period portraiture was the most acceptable form of
painting. This portrait demonstrates the cult of women followers who
wore clothes similar to the Queen’s.
Lady Reynell’s dress is very ornate, and is made from very expensive
brocade which is decorated with pearls, gold and enamel. Her ruff is
edged with lace, her hair is raised on a wire support, and her face is
made up with white powder. A pale complexion could only be achieved
by upper class women. Lower class women were expected to work
outside, and so acquired a suntan! The pale complexion was therefore
a sign of wealth and nobility. This portrait is thought to have been
painted when Lady Reynell’s husband, Thomas Reynell, was knighted.
Focus
• Is the name Reynell familiar to you? This lady was of the same family
as the people who settled in Reynella.
• Do you think Lady Reynell looks comfortable? Do you think she wore
clothes like this all the time?
• Appearances were very important at this time, and make-up was used
to hide the signs of ageing. The favoured application of the upper
classes was a make-up called ceruse - a mixture of white lead and
vinegar. It was poisonous!
• Does the painting tell you anything about the lifestyle of the Reynell
family at the time it was painted?
• Is it like any other painting you have looked at recently?
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 13
Gallery 13
SMALL TALK EDUCATION RESOURCE
Venus preventing her son Aeneas from killing Helen of Troy
c1650, Reggio Emilia
Luca (Luca da Reggio) FERRARI
Italy, 1605-1654
Elder Bequest Fund 1951
The story of this violent drama comes from the Aeneid, an epic written
by the Roman poet Virgil.
Helen, according to the story, was taken against her will, to Troy. The
Greeks fought a long war to avenge Helen’s abduction. They won the
war by using a trick - the famous Trojan horse - which enabled soldiers
to enter the gates of the city of Troy. Aeneas, on finding Helen during
the fighting, decided that she was the cause of the war and grabbed her
angrily. Venus, the goddess of love, can be seen saving Helen of Troy.
The Aeneid is a long but lively story full of mortals and gods tangling
their fortunes. In the 17th century, when this painting was made, many
people knew this story well and could appreciate such a painting
without having to be told what was happening.
Focus
• Find out more about the story of Helen of Troy and the Trojan horse.
• The artist has used light and dark, like a stage director, to add to the
drama of the action.
• Discuss the use of contrasts in light and dark in any film or video you
have seen recently.
• Look at other paintings nearby which demonstrate similar contrast.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 14
Gallery 14
SMALL TALK EDUCATION RESOURCE
(detail) King George III in coronation robes
c1765, London
Allan RAMSAY and studio
Britain, 1713-1784
South Australian Government Grant 1924
King George III commissioned his own portrait. Most portraits painted in
this era were meant to display importance, wealth and power.
The complete outfit was made out of the same material. The enormous
cuffs remained in fashion for around 70 years. This long coat, held in
place by buttons, evolved to become the 20th century suit coat. The
silk stockings are similar to stockings worn in earlier Tudor times.
From 1735 men wore a stock, a stiff neckcloth made from linen, tied
or buckled behind the neck. The stock grew over time in height and
stiffness. The King’s wig is short. Wigs came into fashion around 1700
and developed throughout the century in very spectacular ways. They
came in all shapes and sizes, and often indicated social class. They
had all kinds of names: the adder, the bob-cut, the she-dragon.
The King loved the painting and refused other requests to paint his
portrait. This was the best known painting of King George III in England
and America at the time. During this King’s reign, the American colonies
broke away from England and declared themselves independent.
Focus
• The light shines on the King to make him even more splendid. The
heavy column and pink drape are symbols of power and authority.
• What does this painting make you think about the person portrayed?
• The King is wearing his Coronation robes. The fur is ermine. But there
are some aspects of his garments which relate to fashions of today.
Create a list of items that you see in today’s clothing.
Later
• Choose a figure from history who you feel is important. The person
could be an athlete, entertainer, politician, artist, or any other figure
you admire! Research your historic figure and write a story that re
counts important details of the person’s life. Create a portrait.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 15
Gallery 14
SMALL TALK EDUCATION RESOURCE
(detail) The pinch of poverty
1889, London
Thomas Benjamin KENNINGTON
Britain, 1856-1916
Gift of Charles Drew 1889
This painting is from the time of Queen Victoria, late in the 19th Century.
The painting describes the desperate situations which often faced
poor people struggling to survive in England. Sometimes people like
these were lucky, and managed to make a new life in a new country.
The family in ‘Pinch of Poverty’, however, is begging. The mother
has a wedding ring on her finger and wears widow’s clothing. The
‘breadwinner’ is dead, and there is no social security support or
possibility of enough work to help this family.
The family has been forced to leave their home and beg in the city
square. The little girl who looks directly at us is trying to make money
by selling flowers. In this era there was much poverty as people left
farms and country villages to work in mines, mills, and factories that
had increased in number because of the Industrial Revolution. Working
conditions were very bad.
Focus
• People often believed in those days that if you were born into a lower
class you shouldn’t try to rise above it. Others thought that being poor
was God’s will. What do you think of this idea?
• Make a list of things that show that this family is in poverty.
• What are the main colours used by the artist in this work of art?
How do they make you feel?
Later
• Research the life and times of people living during the Industrial
Revolution in England. Charles Dickens wrote about the fate of such
families and of children forced onto the streets in ‘Oliver Twist’.
• Write a poem that tells a story about the family in this painting.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 16
Gallery 15
SMALL TALK EDUCATION RESOURCE
Circe Invidiosa
1892, London
J.W. WATERHOUSE
Britain, 1849-1917
South Australian Government Grant 1892
Waterhouse enjoyed painting stories taken from classical mythologies.
Much of his inspiration and ideas came from reading the works of the
great storyteller Homer.
In this story, Circe had become jealous of another woman, Scylla, a
beautiful mermaid who had attracted the sea god Glaucus. Here, Circe
is pouring poison into a swimming pool. Soon after, Scylla plunged into
this pool and was turned into a dog-like monster with six heads. Some
say that she lives on as the Scyllan rocks which bite the bottoms out of
passing fishing boats!
Focus
Viewers of this painting a hundred years ago would have known the
story of Circe, and picked up on all the clues. See if you can locate
them in the painting. Spooky setting – Gloomy colours are used to
present the island as dark and threatening. Circe’s mood – The eyes
are large, fierce and focused totally on the bowl; her figure is in a
dramatic pose as if transfixed or in a trance. Jealousy – The acid green
of the liquid gradually changes the colour of the sea at Circe’s feet.
Circe’s power – Surfing on a sea monster, her long hair snakes out like
tentacles as she almost floats above the water.
Later
Research Circe and learn more about this amazing woman. Has this
painting made you curious about stories from ancient Greece?
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 17
Gallery 16
SMALL TALK EDUCATION RESOURCE
Woman with a laundry basket
United States and Germany, 1974
Duane HANSON
United States, 1925-1996
South Australian Government Grant 1975
When Duane Hanson was a teenager he made sculptures using any
materials he could find, such as logs of wood and broom handles.
The body casts for this sculpture were made from the artist’s wife. She
was expecting a child at the time. Don’t be fooled by the realism of
this sculpture. It’s not actually a ‘real’ person: the head ‘belonged’ to a
neighbour. The artist made a number of moulds by putting wet plaster
onto someone’s body and making plaster casts of all the limbs, the
torso and the head. Once these moulds of body parts were made the
artist filled each with fibreglass, which eventually sets very hard. Then
the fun began, joining all the fibreglass pieces to make up the body.
Back in the early 1970s colours such as burnt orange and acid green
were very fashionable. Why is she wearing hair rollers and a hair net?
Does this give you a clue about how her day is shaping up?
Focus
• Are there any monuments to individuals in your local area? If so,
who are these people? Are any of them ordinary workers? Do
ordinary people deserve monuments? If Duane Hanson was working
in today what kinds of people might he choose for his sculptures?
Later
• At home or at school, you could dress up and try becoming a statue.
• Travel back in time and check out how well-dressed housewives look.
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 18
SMALL TALK MAP
Blue spots indicate the location of art works included in this trail.
GROUND LEVEL
Australian Art
Australian galleries 1-5 closed for
North Terrace
5 4 3c 3b 3a 2 1
Australian Art
display and lighting upgrades
foyer
6
17 16 15 14 13 12
Aboriginal
India European Art
Art
& SE drink fountain
7 Asian
Art
Photography / Digital Media LOWER LEVEL
11 10 9 8
Adelaide University
Contemporary Art
21 20 19 18
Courtyard
SE Japan Islamic Arts &
i
North Terrace
Auditorium Asian & Art Crafts
Art China
Exhibitions Schools entry and
downstairs
Fish registration
Members’ office/
lounge Gates
Museum
EDUCATION SERVICES, ART GALLERY OF SOUTH AUSTRALIA PAGE 19
