do something different

Teaching Resource: Key Stage 3, 4 and A level/Art & Design

Credit: David Lamelas, From The Violent Tapes of 1975, 1975, Courtesy Galerie Kienzle & Gmeiner GmbH, Berlin


Barbican Education
Credit: Credit: Robert Longo, Untitled (Joe), From Men in the Cities, 1981, © Tate, London 2007

Introduction to the exhibition and this resource Student information and worksheets Further information and planning your visit

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12 mins. The late 1970s and early 80s was a period of economic and social crisis in both Britain and America. while others made works attacking society's depiction of women. The exhibition contains work of an adult nature. Eros VII. Panic Attack! looks at art in Britain and America between 1974 and 1984. Linder talks about the process she used to construct her images. CPD events. and often used the imagery of the city as a symbol of social crisis. Introduction to this Resource The artists featured in this resource reflect the different strands of the exhibition. 1977–78.. They were selected with teachers' needs and students' interests in mind. which could inspire a project on creating visual shock through collage. but this exhibition demonstrates that the rebellious spirit of punk can also be found in art. fashion and graphics. and a time when art became increasingly politicised.Teaching Resource 01 Barbican Education Inspired by the extraordinary diversity of the Barbican arts programme. Switzerland. and recommends that a responsible adult checks the suitability of media before using with their students. and Mary Boone Gallery. trash. referred to in this resource. Postcard collage 15 x 19. including teachers' resources. to download other resources or book events please visit www. 1977 Super-8 film. film. and we strongly advise that you make a preliminary visit before you bring any students to the gallery to decide if the exhibition is suitable and to plan an appropriate route. Introduction to the Exhibition Panic Attack! Art in the Punk Years This exhibition contains work of an adult nature Punk is most associated with music. Some artists created confrontational performances in which they tested the bounds of social acceptability. One strand of the exhibition looks at artists who made work with direct political intent. London Photo credit: Peter White Right hand image: Derek Jarman.barbican.5 cm (6 x 8 inches). including websites. Courtesy Daros Another strand looks at collage. The focus questions and interpretation of his work is intended to get students to think beyond the “cool factor” and see how this artist built up a visual vocabulary of symbols that helped him communicate to his audience. video and other media. Untitled (Your comfort is my silence). Barbican Education accepts no responsibility for the content of any media. New York Left hand image: John Jordan’s Dance. and gallery tours. London © Barbican Education 2007 . 1982. A comprehensive education programme accompanies every Art Gallery exhibition. Keith Harings' work has a strong appeal to many students. and features some 30 artists working with photography. who used their work to criticise society. Courtesy the Approach. Courtesy James Mackay. 142 x 102 cm (56 x 40 inches). For more information. Black and white photograph. Main image: Barbara Kruger. Barbican Education offers pupils and teachers powerful learning opportunities and the chance to discover more about the arts and their own creativity. colour. and the 'do-it-yourself' scene.

affection and relationships). about to break-dance. Untitled. dynamic paintings. He also created his own reoccurring motifs such as crawling babies (representing life. New York. ©The Estate of Keith Haring © Barbican Education 2007 . harmony. Courtesy Max Lang. skin electric and sweating. which communicate a direct message about the human condition.html Questions: • How does this work of art make you feel? • How do you think the artist felt when he made it? • What does it remind you of? • What is the oddest thing about this image? • What message do you think it communicates? • What sounds or music does it suggest to you? • Could you think of a title for this painting? • Do you like or dislike it? Why? Credit: Keith Haring. breath held. barking dogs (aural vibrations are made visible with barking action lines) and flying saucers (with their energy rays zapping the unsuspecting). Keith Haring uses symbols in his work to quickly and simply communicate complex ideas. The symbol in the middle represents Venus.haring. full of energy. For more information check out www.Teaching Resource 02 Artist: Keith Haring Title: ‘Untitled’ Date: 1983 Size: 305 x 305 cm (121 x 121 inches) Materials: Vinyl paint on vinyl tarp About this work: Keith Haring created bold. This figure has lit up like neon on the dark dance floor. Spiky ribs. jutting knees. chunky fill-in of bright colour and even paint drips remind us of his graffiti art beginnings in the art world. The figure looks like it is trapped for a moment. or the female sex (beauty. The bold outlines. happiness and the positive side of humanity). fists clenched.

To find out more check out… www. • This piece reveals the links between art. • ‘Do it yourself and make it’.andrewlogan. The plinth it sits on looks like a marble block. how wonderfully strange and glamorous I look!'. Hayward Gallery. This work tells us a lot about the punk ethos. The humble safety pin came to represent so much about the punk ethos. at which the Sex Pistols played. Think of how the artist must have carefully and painstakingly assembled the sharp shards of mirror around this 3-D form. it was a political and social metaphor as well as a fashion statement for street culture punks and designers such as Vivienne Westwood and Zandra Rhodes (for whom Andrew Logan created jewellery). 'Seven years bad luck' or 'Wow.Teaching Resource 03 Artist: Andrew Logan Title: Homage to the New Wave Date: 1977 Size: 124 x 22. such as the Valentine Ball (1976). a creative energy and confidence in experimenting with unexpected materials and creating work. Look at the dazzling. which put Andrew Logan at the heart of the London punk movement. Courtesy the artist and Arts Council Collection. but look at little closer and you can see the shattered mosaic pieces jumbled chaotically together. 1977 . twinkling mirror mosaic of this giant safety pin. resin. Derek Jarman created films and legendary parties here. Would you think 'Everything is broken'. London © Barbican Education 2007 . fashion and music. Holding together all that was falling apart. Imagine looking into it and seeing your broken face and a cubist-like room surrounding you in its surface. How do you think it was made? • What does it remind you of? • What does it mean to you? • What ideas does it make you think of? • Do you like or dislike it? Why? Andrew Logan. glass and stone About this work: Andrew Logan's London bank side studio was the hive of London's punk culture Questions: • Look carefully at the surface of this sculpture. Homage to the New Wave.8 x 16 cm (49 x 9 x 6 inches) Materials: Metal.

net Barbican – Communicate: British Independent Graphic Design since the Sixties. culture and politics has been defaced. Unemployment. a poison pen letter. The message appears assembled from letters cut from newspaper headlines. Reid used collage in his work – it is made by hand not using a computer. symbol of British society.barbican. It looks like a ransom note. 1977 Courtesy the Questions: • What is surprising about this picture? • How do you think it was made? • Why do you think the artist has used these materials and methods to create this image? • What ideas. has become an iconic image of the time. Like the artist Linder. To find out more check out… www. © Jamie Reid © Barbican Education 2007 . thoughts and feelings does this image communicate? • Do you like or dislike it? Why? Credit: Jamie ink and paper collage About this work: Can you think of punk without thinking of Jamie Reid's art work for the Sex Pistols? This image. Reid created several key images for the Sex Pistols including covers for albums Never Mind the Bollocks.Teaching Resource 04 Artist: Jamie Reid Title: God Save The Queen Date: 1977 Size: 29. removed. the cover of a single by the Sex Pistols. God Save The Queen. Strikes. Oil Crisis. Graphic designers spend a great amount of time thinking about the style of lettering and how this will make you feel when you read the words. Power Cut. www.jamiereid. and Here's the Sex Pistols and the singles Anarchy in the UK. The different fonts and typefaces create a visual shock. words from amongst the headlines of 1977 that might have been cut up to create this unsettling image. the music and the art. Here Jamie Reid has broken the rules and used several different typefaces together: they look like they have been cut out of newspapers and simply stuck on. Celebrate…Queen…Jubilee.7x42 cm (12 x17 inches) Materials: Newsprint. The Queen. Her eyes and mouth have been obscured. photocopy. Pretty Vacant and Holidays in the Sun. and set the tone of the record inside the sleeve. a God Save the Queen (Single Cover).

she is thinking.4 x 19. She is so pale. Collage was popular with artists from Picasso's papier collés (literally pasted papers). botoxed to oblivion. act and think. Her lips have been mutilated. Courtesy Stuart Shave / Modern Art. It was a moment of glorious liberation to work simply with a blade. calm. like an autocue. DIY. look at those lips! It is those lips that make you stop and think. 1979. or maybe they would read out the panel of text (about beauty tips) at the bottom right of the page. Questions: • What is the strangest thing about this image? • If she could speak what would she say? • What idea or message do you think this image communicates? • How do you think this artwork was made? • Do you like or dislike it? Why? Credit: Linder. romance. What would these lips say? ‘Pass my lipstick’. fashion. glass and glue…I'd always loved magazines and I had two separate piles. Montage enabled Linder to explore her own sexuality as well as her ideas of Feminism and gender politics. There is something both scary and comic about this image.3 cm (9 x 8 inches) Materials: Photomontage About this work: ‘I remember the pure pleasure of photomontage. One you might call women's magazines. She stands so still. and Surrealist juxtaposing of contrasting realities that created dream-inspired creations. paint and pen trying to translate my lived experience into made marks. Stranger still. ‘Give me a kiss’. I wanted to mate the G-Plan kitchens with the pornography. then a pile of men's mags: cars.Teaching Resource 05 Artist: Linder Title: Red Dress xiii Date: 1979 Size: 23. and exciting. I had spent three years working with pencil. talk. The simple change to this image makes us think about how women are portrayed in the media and question if we as a society are being manipulated to think and behave a certain way. see what strange breed came out. Red Dress XIII. Saturated with messages of how we should look. fresh. lonely. There was a rich history of collage before Linder's work and yet it appears unique.’ Linder Strange the way she looks at you with her heavy 'natural look eye shadow' eyes. pornography. London © Barbican Education 2007 . Her background so black. ‘I'm a man-eater’. which again was women but another side. to Dada's photomontages. We are bombarded by media imagery.

when something untoward is about to happen. blackmailer. Your hair. Date:1977–1980 Size: 19 x 24 cm (8 x 10 inches) Materials: Black and white photograph Questions: • What would it be like inside the picture frame? • What would you see.Teaching Resource 06 Artist: Cindy Sherman Title: Untitled film still no. Imagine a story unfolding from this image. wigs and props to transform herself and create another identity. 1978. hear and feel? • This image is a frozen moment in time. To find out more check out: www. She didn't make films. The weak sun rays on your cheek. It is this exploration of women's identity and the questioning of stereotyping women that links Cindy Sherman to Feminist ideas in art. make-up. Are you waiting for your husband. clothes. Imagine you are her: Credit: Cindy Sherman. B-movie thrillers and European art house films. unless in a film. like a heroine in an Alfred Hitchcock film. or murderer? What are you thinking? Perhaps. another personality. and sunhat. the narrative and character. anticipating. lover. thoughts and feelings does this image communicate? • Why has the artist chosen photography to communicate her ideas? About this work: Step inside the frame. waiting. the docks. Cindy Sherman was both the photographer and model in her work. You can imagine the rest of the film. and gentle breeze off the Hudson River. another kind of woman. a part of New York City you don't see much of. I must know what happens next”? Wouldn't it be wonderful to be able to go to the cinema and dive into the screen and become one of the characters? The power you might feel being watched. New York © Barbican Education 2007 . Cindy Sherman makes this magic happen in her photographs. You may be there some time. • What ideas. a soundtrack moving with your every footstep.24. Untitled Film Still #24. “someone press play. Courtesy the artist and Metro Pictures. Behind you there is an industrial landscape. large and glossy. She gathered costumes. but photographs that remind us of a film we may have seen. and you bring this to your interpretation of the image.

uk/servlet/ArtistWorks?cgroupid=999999961 &artistid=953&page=1 Questions: • Look at this image from a distance and then close up. they evolve as they are This mess is creative play.tony-cragg. Policeman. There is a sense of creative play or chance involved which give his work a sense of energy. Most importantly. To find out more check out: www. 1981. It may make you think of a sugar-crazed child tipping out their toy box with a squeal of delight and effervescent energy. Although Cragg has strong ideas before he starts his artworks. Courtesy the artist and Lisson www. London © Barbican Education 2007 .Teaching Resource 07 Artist: Tony Cragg Title: Policeman Date: 1981 Size: 400 x 120 cm (158 x 47 inches) Materials: Blue plastic About this work: Is it just a load of old rubbish? A really big mess? That blue plastic shovel could help you bury that old squashed plastic bottle and broken lid. Cragg won the Turner Prize in1988. a policeman complete with helmet and riot shield? A collage of found objects unified by colour and arranged not randomly but as precisely as a jigsaw puzzle. Look again. this will make you think. It may make you think about fear. Cragg collected discarded household materials and fragments into colour categories ready to assemble on the walls and floors of the mess our country is in. law and order and the ills of our www. Look at the highlight on his steel capped boot and the way his riot shield ends with a dark blue full stop. the curve of his chin. Look at the policeman's nose and top lip. What different things can you see? • Is there anything hidden or intriguing about this work? • How do you think this artwork was made? • What does it remind you of? • What message or ideas does this communicate? • Does the artist intend you to find a meaning or is there a 'right answer' to uncover? • Do you like or dislike it? Why? Credit: Tony Cragg. It may make you think of rubbish landfill sites.tate. His work challenges what you may consider to be art materials and how art should be made and seen. can you see our 'boy in blue'.–information/disability– for information about CPD and other Education events. • Images of completed work. Subject to availability. For full Access information please visit http:/ /www. Create your own worksheets – we have included some ideas in this resource. The telephone booking line is open 10am–5pm. please call the Groups booking line for times available. If you would like to see the full policy please contact Barbican Education on 020 7382 2333. offers full meals as well as sandwiches. please speak to a member of the Art Gallery staff who will be happy to help. Barbican Education Barbican Centre Silk St London EC2Y 8DS T: 020 7382 2333 F: 020 7382 7037 E: education@barbican. which is included in this On 27 June and 5 July also book a free gallery tour. For further information contact 020 7606 3030. 1 1am–6pm Admission £8 / £6 concessions £3 schools and full time student groups of 10 or more. Farringdon. City Parking is limited to the metered bays in Silk St and Fore St. You can also call or email the Barbican Access Manager on access@barbican. If you have any questions during your visit. fax 020 7382 7270 or email groups@barbican. Nearest tube stations: Barbican. Barbican Education Panic Attack! Art in the Punk Years curated by Mark Sladen and Ariella Yedgar. A4 clipboards and paper or sketchbooks would be ideal. You and your students might like to compile a CD and send it to us at the address below. drinks and also children’s meals. but are fully aware that one size will never fit all. St Paul’s. Please also contact Barbican Education if you would like risk assessment information. Toilets There are toilets on Level 3 directly outside Barbican Art Gallery. h St Beec Milto n St Barbican Chiswell St Liverpool St Ropemaker St Lake side Moorgate Moo rfield s barbican Silk S t The Barbican Centre is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation St Paul’s London Wall Mansion House Bank Top tips for planning your visit Beforehand Book your visit via our dedicated groups booking line – 020 7382 721 1. Cloakrooms There is a free cloakroom on Level 3. Contact We would welcome feedback this teachers’ resource and the exhibition. asking for Parking Services Disabled visitors Barbican Art Gallery is fully accessible for wheelchair users. just off the foyer on Level G. We would also love to see any resources you create yourself –and any work that your pupils do as a 020 7382 7389/7083. Monday to Friday. Moorgate. Gallery opening times 1 1am–8pm except Tuesday and Moorgate Coach: there is a setting down and picking up point in Silk St. Cafes / Packed Lunches Waterside Café. Planning your visit Use your preliminary visit to plan how your students will use their time. Further information There is medical assistance available on site at all times.barbican. Barbican Education has a full CRB child protection policy. At the exhibition We suggest you visit the Gallery in groups of no more than 30 students. • Short report on the ideas that underpinned their work. directly outside the Art Gallery. and in addition on Level –1 for when you are on your way into and out of the Centre.Teaching Resource 08 Alde rsga te St Moo r Lan e Woo d St Fore St Moo rgate Planning your visit Barbican Art Gallery Level 3 Barbican Centre Silk St London EC2Y 8DS For all group bookings and general enquiries please call the Groups Booking Line on 020 7382 721 1. It could contain: • Images of students’ work in progress. Enter via the main entrance on Silk St and cross the Foyer to the lift and stairs to reach Level 3. Preliminary visit Make a preliminary visit before bringing your group. Liverpool Street Nearest train stations: Liverpool St. This will enable you to make best use of your visit to achieve your teaching and learning objectives. Make sure your group have materials for drawing and note taking. Barbican. Mon–Fri only Teachers / group leaders go free with groups of 10 or more students Dedicated group booking line 020 7382 721 1 How to find us Barbican Art Gallery is on Level 3 of the © Barbican Education 2007 . Phones You can find public telephones in the lift lobby just across the road from the Level –1 exit and on Level 2. You should also refer to the gallery floor plan. Full evacuation staff are available at all times. If you have brought packed lunches you can eat in the stalls floor foyer (Level –1) the main foyer (Level G) or outside on the Lakeside where there are plenty of picnic benches and tables. Credits Panic Attack! Art in the Punk Years Teaching Resource Written by: Vanessa Lawrence Edited by: Anna Dent. to help you plan your See www.

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