The Nightwatch extended and Ellsworth Kelly at the Rijksmuseum

A visit to the Rijksmuseum in Amsterdam in mid-July certainly isn’t what it once was.  It isn’t deserted, but it very definitely is a lot quieter than I have ever seen it.  You can stroll up to a Vermeer without having to wait your turn as you filter your way to the front of the crowd around it.  Rembrandt’s Nightwatch is still in its glass box constructed for recent restoration work.  But here too you simply walk up to the barrier for the best view.

The Nightwatch was one of the reasons for my visit.  I’ve seen it often enough, and had the chance to view it better than ever before during our school’s involvement with a Rineke Dijkstra film project a couple of years ago.  But at the moment there are some interesting additions to Rembrandt’s masterpiece. The story behind this requires a little explanation.

In 1715, when the painting was moved from its original location to the Amsterdam town hall, it was too big for the new location.  The solution for this problem was simply to reduce the size of the painting to cut a little off on three sides, and really quite a large slice from the left hand side. 

With the help of the miniature version of the painting made by Gerrit Lundens in the mid-1650s that shows the whole painting and a great deal of digital technology, the museum has recreated the missing pieces, and while the original is still out of its frame have added them to the four sides, extending the painting considerably.

The museum website has documented the whole process…..

Operation Nightwatch – Rijksmuseum

The biggest change in the way the painting is viewed with the additions is undoubtedly that the two central figures who for the last 300 years have been extremely central in the composition are now significantly shifted to the right.  The effect is that they feel  more than ever that they are stepping out and moving towards the now bigger space on the left.  It’s fascinating to see how such an “old friend” can change!

Ellsworth Kelly

The other reason for a Rijksmuseum visit today has been to see the exhibition of sculptural work by Ellsworth Kelly (1923-2015).  Spread around the museums gardens, and with the backdrop of the museum itself, a collection of nine of the American’s razor sharp abstract sculptures have been assembled from around the world. 

Kelly’s work has always had a special alure for me since my student days.  He was an artist I looked at a lot as made the steps towards making my first abstract works.  Even now I still regularly look at his work as a reference to what I make now.

In the museum garden the sharp flowing lines of the sculptures and their smooth and even surfaces draw a fantastic contrast with the intricacies of the Neo-Gothic architecture of the Pierre Cuypers’ building that was completed in 1885.

Finally, back to an unlocked-down Museum

It’s nearly a year since I’ve been into a museum.  My escape days to recharge my cultural batteries.  The opening up of a post-lockdown world is finally allowing it again.  It’s not quite as it was before, you have to book you entrance time slot and the number of visitors is restricted.  It is also true to say that the exhibition programming of the museums has, I’m sure, been mangled by the repeated stop start of the last 18 months.  But despite all this it has been fantastic to return to the Kunstmuseum in The Hague today, possible my favourite regular destination of all the big Dutch museums.

Apart from the regular collection, and despite the disruptive effects of the pandemic, the museum had a couple of exhibitions that had drawn me here, ahead of perhaps an Amsterdam of Rotterdam visit.  First and foremost a solo exhibition by the Dutch abstract painter Bob Bonies.  I remember discovering his work as a student in London back in the 1980s.  The hugely reduced visual arrangements that the artist uses fascinated me. The way he worked with form that was physically absent as much as what was present influenced my own student work. Much of the work is of a reasonably large scale, but relies on the most subtle of tensions between the complete and incomplete form, the flat and the spatial, the physical and the illusionistic.

Bonies work is clean, sharp and draws you in.  Immaculately made these geometric statements feel totally at home in this particular museum with its equally sharp and geometric design, created by Dutch architect Hendrik Petrus Berlage (1856-1934).

Maybe the difficulties of exhibition planning in the Covid effected world has lead the museum to present an exhibition about its own building, or maybe it was planned all along.  But it is certainly interesting to see how the building came about, Berlage’s influences, planning and maquettes.  It is a piece of architecture that is always a pleasure to wander through, it’s heavy doors, repeating structures and wall paintings.  But for me today, and maybe partly because I had just been gazing at Bonies work, it was a set of photographs by Gerrit Scheurs of the building that particularly caught my eye.

The photographs, like paintings by Bonies, play with the geometry.  In this case, within the rectangle.  Yes, if you look carefully you can pick out easily enough which part of the museum is actually pictured.  But these images too have more than their fair share of spatial and illusionistic games going on……all with the cool diffused light that the museum always has.

One of the other spaces in the Berlage exhibition makes use of large, black and white photographs of exhibitions of the past.  Often blown up to wall filling scale.  The pictured museum spaces seeming to open up mirrored rooms, but ones that take is into the past, peopled by visitors exploring exhibitions held in the same gallery space maybe fifty or sixty years ago.  You share the space for a moment, but find yourself reflecting on the different times and indeed the different world going on outside the walls of the museum.

When needs must, Covid, creative and educational choices…Minecraft in and out of the classroom

For a number of years in the winter months I run a series of lessons with the fifteen-year olds that I teach about architecture that focus on aesthetic beauty in contemporary buildings.  We spend time looking at the architecture found on the streets of our local towns and villages as well as the work of leading architects on the world stage.  Most pupils are interested and surprised when being introduced to the work of the likes of Zaha Hadid, Frank Gehry, Daniel Libeskind and Peter Eisenman, and seeing work that is a long way from what we find closer to home.

Once the theory and written assignments are out of the way we dive into what are some of my favourite lessons of the year.  Pupils begin work on a architectural design process that first involves them working out on paper a layout for the interior of a building, puzzling out how to make best use of a space with fixed parameters of a building’s footprint.  This is followed by a second part where following a short lesson on how to use SketchUp, the pupils use it to design the exterior to accompany their interior plans.  We sit for several lessons at the computers at school, first working on the basic form, and then focussing of pushing the level of detail and refinement in the design as far as we can.

This year though, with a lockdown in place and lessons being given online this practical assignment presented a problem.  Many of our pupils, when at home, only have access to their iPad, the chosen digital device that we have been using at school for a number of years.  There may be a computer at home, but during lockdown, the whole family may have claims on this.  To get round this problem, as an art department, we reorganized the assignment (like we have done many times in the last year!).  The new version offered a whole series of possibilities:

  • The SketchUp option (for those who could install and use computer)
  • Tinkercad 3D design software (that does work on the iPad)
  • A physical maquette made of wood, cardboard, paper, plastic, etc.
  • Two architectural drawings

Or, and this turned out to be the real crowd pleaser…..

  • Using Minecraft to design the building

I have to admit that was a little a little sceptical at the beginning.  Would the limitations of the Minecraft blocks simply be too much of a restriction and result in designs with little flair and imagination?  I need not have worried, encouraging the pupils to work big in their Minecraft worlds meant that this really wasn´t too much of an issue.  Pupils seemed only too keen to put the necessary hours in and show off the hours that they had already invested over the years mastering the building possibilities. 

video 20210425 93604 PM c36ea098 – YouTube

Ckv modern school building – YouTube

There has been much reinventing of the educational wheels this year.  Multiple assignments have been adjusted, redeveloped or simply thrown away to be replaced by others that may work in an online teaching world.  This is just one such example. 

An assignment to keep in for next year?  Given the choice I’ll head back to SketchUp with these older pupils.  But the idea of using Minecraft within an art program is a possibility for sure.  The software is a bit geared up for a particular type of architecture, but maybe heading off in a different direction altogether and using it to create abstract sculpture could be very interesting, and the pupils might be less drawn to following tutorials on YouTube.  I have also just thrown down a challenge to the 12 year olds I teach to try using Minecraft to recreate Renaissance architecture as it is to be would in the paintings from 500 years ago…….I’ll be posting the results in due course!

“Do you think everyone will actually go for a walk?” – getting the landscape into the classroom

Pupil “M” in one of my third year (14-15 years old) is always good for a quote.  She has the habit of saying out loud exactly what she’s thinking.  Her comment related to my new art assignment.  I wanted to get the pupils doing some work that connected to the landscape around them, where they live and go to school.  Also, having had so many online lessons sitting behind their computers this year, I decided to try and be as specific as possible and actually send them out for a walk as part of my lesson.

That was the plan and I carefully put the idea of a walk into an artistic context by showing the work British artist Richard Long has made in the past documenting walks and using maps in his artworks.  My assignment was broken up into several parts with a few specific criteria:

  • Your walk must be a minimum of 1km in length, I was tempted to say 5km, but I did want the walk to be potentially able to be completed in one of my one-hour long lessons
  • Your walk should take you to a mature, full grown tree that you must photographically document with a series of 20 photographs that will later be used as a part of the documentation of the walk
  • Record the walk itself in the form of a hand drawn, imaginably presented sketch map

In my mind these were relatively simple instructions, and ones that would undoubtedly be easiest and quickest to carry out by doing the walk with the camera of the pupil’s mobile phone close at hand to photograph the tree plus a few other points on the walk.  Which was why I was a little surprised by the “Do you actually think everyone will actually go for a walk?” comment. No, actually I wasn’t surprised at all, teenagers are a contrary lot and most teachers and parents alike will recognise the way many choose to take an alternative route, even when the recommended one is easier.

Remember, some of these are the same pupils who complain sitting behind their computer all day doing online lessons is boring.  I already have some evidence that some have tackled my assignment by, you’ve guessed it, by spending some more time in front of the computer screen, searching the internet for sets of photos that look like they could be made of a single tree on their walk……some more successfully and believably than others!

Others have of course done exactly what was asked and will I’m sure produce good work.  I’ve seen some nice photographic collages; GPS tracks of walks and the hand drawn maps will come.  We’ve already moved onto some tree drawings when it is the turn of particular small groups to physically present in class, good artistic results will, in due course, come.  But it would seem, for some at least, sitting at home behind the computer isn’t so bad, at least, not quite as bad as having to go for a short walk!!

On the same wavelength it would seem

Two weeks ago I wrote a post about my observations of the unbalanced Dutch educational system and the choices it forces teenagers to make. At the time it was a personal reaction to having sat in a report card meeting that felt rather lopsided to say the least:

https://petersansom.wordpress.com/2021/04/15/sitting-quietly-at-the-back-of-the-digital-report-card-meeting/

Today on the website of the Dutch national broadcast channel an article by Koen Koopman appeared that covers some extremely parallel lines of thought. It’s nice of course to feel that you are in tune with others! It is nicer still to know that such educational issues are at least being discussed in the national media, and who knows, maybe in the future may bring about some refinement in the situation.

https://nos.nl/artikel/2378737-pushende-ouders-te-jong-kiezen-veel-decanen-niet-blij-met-profielkeuze

Collision course

For more than ten years my creative output has broken clearly into two parts. The studio work that has resulted in paintings, constructions, prints and works on paper.  All carefully worked out and refined, often in quite extensive series of incremental steps.  Alongside this has been an extensive series of small scale, rapidly made, landscape drawings and paintings that have filled hundreds of pages of bound sketchbooks.

These two series of work have, at times, hinted at the possibility of coming together and supporting one another. But up until now, although there have been tentative connections in one way or another, I have never really felt a crossover occurring or a serious engagement between the two branches. 

However, that situation may be about to change.  It’s early days to shout too loudly about it, but maybe, just maybe, things are on a collision course, time will tell.  Here, in the most recent studio work there is a genuine landscape image, reminiscent of one of my sketchbook paintings, stands central….and there are more to follow, possibly making use of images such as this woodland watercolour.

Sitting quietly at the back of the digital report card meeting

It’s been another week of report card meetings for me the last few days.  All online meetings, discussing the performance of our pupils in these extraordinary online educational times.  Academic achievement stands central in the discussions.  And in the Dutch educational system, a child’s ability in the area of Mathematics stands towering above everything.  You may be a gifted language expert, a pupil totally engaged by historical perspectives or on with tremendous creativity in the cultural world, but if you struggle at Maths, you are in trouble.

Time and again the Maths or Physics teachers are asked for their perspectives on the chances of a particular pupil being able to perform well enough to be able to progress to the next school year or remain studying at their current level.  The art teacher, sits quietly in the background, but if I’m honest, so do the history, geography, social studies ones, and often also the language teachers. 

If a child really struggles with languages, even in the multi-language learning Dutch system a slightly lighter learning route can often be found, but struggle with Maths and the options are limited.

Coming from the British system of A-levels this has always struck me as strange.  In my final two years of school in the UK I did the standard three A-levels.  In the British system, it is really not that unusual for pupils to drop Maths altogether for the final two years of their secondary education.  Choosing just three subjects it is inevitable that you are going to let go of something that others may see as crucial.

Ironically, for my argument here, I didn’t drop Maths or Physics and took them as A-level alongside Art.  I did however drop English and History, which on reflection may actually have been more useful to me in the long run.

The truth is, you more often than not simply don’t know what is going to be useful to you, and what is equally true is that just because you don’t choose a particular subject at school, doesn’t necessarily mean that a whole chapter of your life is going to be closed off.  My lack of English lessons at school hasn’t held me back from becoming an effective teacher of English within my art lessons in a Dutch bilingual teaching stream. Interestingly in the Dutch education system you can go on to study many subjects at university level without even having them as one of your final exam subjects.

Surely we should be aiming at creating more rounded and genuinely broadly educated young people and ones who at the age of fifteen seem stricken by the stress of choosing subjects that they seem to perceive as being the ones that will set them on a direct railroad to their final career.

 In order to this there has to me a greater awareness and value placed on the skills, knowledge and insights that are gained inside all the classrooms and for that matter outside the classroom too.  It depresses me hugely to see pupils who feel like they are failing at school because they are struggling in maybe one or two subject areas, whilst they are achieving excellently in the remaining eight.  It just feels like or educational focus is simply out of balance, and the pupils are the victims.

Lauren Martin’s excellent article covers a good few of my Art teacher frustrations in this area:

https://www.learningliftoff.com/10-reasons-arts-in-education-important-kids/

At last some sun and a little bit of warmth

After what feels like months of continually having to reinvent what I am doing in the classroom, and way too much time staring into the webcam, there was today just a hint of spring in the air.  Reason enough to head of out on the bike before an afternoon of online meetings and prep work for the school days ahead.

The result two of the first en plein air drawings of 2021.  Fingers were still a bit cold, but it is a start……..

Hybrid lessons….three weeks in

Do I look at the eight or nine faces spread evenly across the classroom, or do I stare into the lens at the top of my laptop?  Do I try and spread my attention between the pupils physically present with me and those sitting at home?  Do I offer the same materials and activities to all or do I differentiate between the two learning contexts?  All hugely relevant to my current educational situation.  Welcome to hybrid teaching!

A couple of weeks ago the Dutch government decided that it was time for the secondary schools to return to the classroom.  Or at least, to return to physical lessons for all children for at least one day a week.  If we set aside for a moment whether this was the right decision or not for a moment and focus on the practicalities and how hybrid lessons are working in particular for us in the art department.

My school like many in the Netherlands has chosen to split each class in three groups.  Each day, one of the groups are at school and physically present in the classroom, and the other two groups are at home and following the lesson online.

The net result for the teacher is a sort of split personality of teaching practice, a near impossible challenge of knowing where to aim your focus, and yet another opportunity to overhaul teaching material to give it a chance of working in this new situation. 

Three weeks in, and at least for me in my art room role, a few things have become clear:

  • After the months of totally online lessons and having to rely only on materials that the pupils have available to the at home, I want to offer those physically present the chance to work with some of the more interesting materials that we have on offer at school.
  • Spreading your attention evenly between the two groups is near impossible.  As a result, hardly surprisingly, you find yourself participating in small talk with those present, and risking neglecting those at home. Avoiding creating “second-class learners” at home is a challenge.  The home-based groups receive certainly less attention than they got while the teaching was fulling online.
  • I have decided that I simply need two assignments for each class.  One for home lessons days and a second (related, but different in terms of materials and practicalities) for the at school days.  The home assignment is designed in such a way that pupils can essentially get on with it independently, while I give more attention to those present in the classroom.

This set up of split assignments seemed to me to be the only way to go, especially with classes where there are sometimes ten pupils in class and twenty following at home. 

The only exception to this rule has interestingly been the youngest class that I teach.  Twenty-six 12-year-olds do seem able to be taught in one group.  That has been partly down to the assignments that I have been doing with them, but a bigger factor here has been the openness and chatty active participation levels of the younger children in comparison to their camera shy 15- or 16-year-old fellow pupils. 

So, my conclusions after these first three weeks of hybrid education?  Well, when looked at in terms of the quality of the education being offered (in terms of content) has not been improved, when compared to the fully online lessons. 

What we have now is a hugely complex learning situation where everyone is battling to find focus and the best way to do things.  But was this change to hybrid ever actually about the content?

It feels more like it has been an attempt to offer a degree of ‘normality’ in our pandemic world.  A kind of ‘look everyone, the schools are open again’ sort of statement.  Although the more pushed narrative is one aimed at increasing the social contact of our young people.  I have no problem with this second perspective, our pupils need to meet up, to socialise and re-establish old weekly rhythms. 

However, the ”return to normality” viewpoint is considerably more problematic, especially in the context of rising infection rates and neighbouring countries being still very much in lockdown.  Could it just be that there was a political motivation to the reopening that was connected to the general election last week? 

Family art exhibition and reunion

Like many families around the world, the physical contact with all but my immediate family  has been greatly interrupted by the pandemic.  I see my wife every day and my studying children regularly.  But contact with my own English extended family has had to move online.  We have regular family get togethers with up to fourteen of us at a time, aged between teenager and 80+ and spread around the world in various places in the UK, the Netherlands, Prague and Kuala Lumper in Malaysia.

The Zoom meetings have been very fun to do and surprisingly satisfying in terms of them being a replacement for the family meals together in any normal year.  We also have family app groups and sub-groups, all-in all, contact remains very good.

But after fourteen months apart I felt that it was time for something else.  We are, by most standards,  a very creative family.  Visual artists, musicians/sound remixer, graphic designers and writers. With many of use taking these interests well beyond a hobby having gained degrees in related areas and gone on to work in these fields.

With this background it was time to stage an online exhibition where we share and take a closer look at each other’s creative output.  Added to this is also of course the possibility open the work to a broader public.

Use the link below to visit our digital exhibition space and enjoy the work of:

  • Five visual artists
  • One film and soundscape artist
  • One graphic designer
  • Two poets

Be patient…..the exhibition can take a moment or two to load!

(The software works best on a laptop or desktop computer, on mobile devices some elements may work less well)