Capturing the imagination – a photographic remake

It is normally a pretty good sign if some colleagues in the staff room know about a project that you are working on before you’ve told them about it. It means that pupils themselves are talking about it!

This was the case last week. I had taken my fourth-year classes (15-16 year olds) to our local museum, the Jan Cunen Museum, to see an exhibition by the Dutch photographer Micky Hoogendijk. Most of the work on display were quite large-scale portraits with varying degrees of digital manipulation often in the form of overlays of other imagery imposed over the head or face. Three works stood out though as slightly different. These particular photographs didn’t have the same manipulation, but they did have a historical resonance with seventeenth century Dutch art.


We talked about the set of photographs whilst at the museum, the clothing, the poses, the use of light and the restrained expressions on the faces. The linking with seventeenth century art was strong and something the pupils later explored in a homework assignment.

Whilst the Hoogendijk works don’t seem to have been based on specific images from the past they offered the pupils a contemporary route back to artworks that they often pass quickly over in other circumstances.

The photographs also offered me a chance to make use of a practical assignment that I have used in the past. This involves a photographic remake of an art historical portrait where the pupil plays the part of the subject of the portrait. It is a relatively straight forward assignment to explain, and maybe this helps in the way that it seems to have captured the attention of my pupils in the last couple of weeks.

I provided a large selection of images for the classes to search through to find something that they thought that they could work with. I gave strict instructions for the photographs that they were going to take, and these were going to become my marking criteria when evaluating the work:

  • The pupil really has to play the part, the expression involved and displayed was important
  • Composition and the arrangement of figure and attributes were important
  • The use of light in the painting had to be followed as much as possible in the photograph
  • The pose of the figure should be used as a basis in the photograph
  • The clothing can be updated but should show a relationship to the original painting   Providing the framework
  • Cardboard box office
  • Related posts:
  • All photographs shown above are included with the pupils’ permission.
  • Looking back on the results that were finally handed in, I feel that the effect of that having seen high quality photos in the exhibition had a positive effect. I feel that it made them approach their own work in a more ambitious way. It definitely seemed to help them in taking a step away from the idea that this was just going to be a relatively unconsidered snap shot, an approach that is the dominant feature of most of a teenagers photographic output.

Beyond these instructions I left my pupils to it. Sending them off with a two-week deadline to produce this practical homework assignment. Although I did also stress that this was perhaps not an assignment to work on in a hurry on a dark Tuesday night…..they were to try and make use the of the natural light that the weekend offers.


Looking back on the results that were finally handed in, I feel that the effect of that having seen high quality photos in the exhibition had a positive effect. I feel that it made them approach their own work in a more ambitious way. It definitely seemed to help them in taking a step away from the idea that this was just going to be a relatively unconsidered snap shot, an approach that is the dominant feature of most of a teenagers photographic output.

All photographs shown above are included with the pupils’ permission.

Related posts:

Photographic frames of reference

Cardboard box office


One day I must do this in class…

It’s been a while since I’ve visited the Cardboard box office blog. For any film lover it is worth dropping by to Lilly and Leon’s site. Although, nowadays it is also Orson (yes really!) and from the most recent posts, also little Elliot. The new arrivals do perhaps give an understandable reason for rather less frequent posts than in the past.

Ever since stumbling on the site a few years ago I have been toying with the idea of how I might do something similar in a school/education setting with a heap of cardboard, some lamps and a whole load of duct tape. Maybe in some sort of a project week, because trying to build such scenery spread over twice a week art lessons for a number of weeks is one sure way to fall out with colleagues as they battle their way past all the cardboard in the store room!


Scan through the site, and you’ll soon find you’ll have your own few favourites. I think that my own personal favourite is King Kong, but there are so many others that catch the eye.

I think if I stop to analyse it a little there are two main things that I like so much about the ‘installations’ that Lilly and Leon construct. Firstly, there is just the lovable silliness of it all. They clearly love the film world and want to use their own creativity to engage with it in some way. And that leads nicely onto the second reason, that being the amount of creativity and inventiveness they show in making their ‘screen shots’.

As an art teacher creativity is an often talked about subject. We like to encourage our pupils to be creative with their materials, you try to design lessons and assignments that challenge your classes creatively. But Lilly and Leon’s installations display a visual inventiveness that requires a particular mindset that teenagers enjoy seeing but find surprisingly difficult to dare to explore in their own work.

I saw this inventiveness a little during an animation project that I did with groups of fifteen-year olds last year, once they realized that they had to go looking at home for suitable materials to animate, a bit of a creative lid did seem to come off.  I’m hoping to see something similar with a forthcoming project where pupils will be photographically reconstructing old master portrait paintings.

Visages Villages (Faces Places) – a film review….and educational possibilities

Agnes Varda film maker and JR the French photographer and installation artist make an unlikely couple. One is an 89 woman who originally made her name as a filmmaker during the French New Wave, the other a 34-year-old photographer/installation-maker with a well-established name in both the world of street art and the more conventional art circuit.


But in the film Visages Villages or Faces Places if you prefer the English title, a couple they certainly are, travelling around the French countryside in their van that is dressed up to look like a giant camera.  They visit a variety of places discussing, bickering and interviewing before getting down to the business of creating and installing a series of artworks using JR’s preferred installation method of pasting often huge scale photographs on exterior walls, sea-containers, trains and even a disused and crumbling relic from the second world war.

The film presents a fascinating insight into the working process.  JR largely takes the lead, but the constant input from Varda deflects and contributes to the creative development.  She brings the perspective of a long life, creative insight and a certain historical perspective that clearly fits well with the younger artist’s own interests.

The passage through the film builds a heart-warming picture of what seems to start with as a rather unlikely friendship.  There is a certain about of teasing that goes on between the two, but also a tremendous amount of respect and warmth as they discuss their work, their lives and their differences.

Technically the film is a documentary and has seen as that when it has won various film festival awards.  But it is also very much a road movie as we travel along with the leading characters on their journey of discovery.

As an educator I think that there is a good chance that I will be showing my older pupils this film in the future.  It gives a revealing view into the artistic process.  My pupils are interested in street art and the way it intervenes into the world around us.  Perhaps slightly unusually for this sort of public space work though, these are images that often provide us with a subject, an ordinary person, to look at and think about.  JR and Varda often choose the humdrum, the ordinary person and the elevate them to often quite huge scales.  Yes, I feel sure that this film and JR’s other work can be an interesting route to explore with my pupils.

There is also no doubt at all that I see possible practical assignments that may be possible to challenge my pupils with.  Certainly, photographic installations that we could make virtually on the computer, but who knows, maybe a few real installations could follow.

Related JR links:

JR Photographer

JR street artist

Previous street art related blog posts:

Street art and illegality

Street art in the classroom

New Year in education

A new year message for education…..? Well more something to think about and reflect on, and very definitely not my own work.

I rarely repost someone else’s blog, but this one does cover a lot ground that I can relate to. John Tomsett writes from his British perspective but his observations are pretty universal I think. We have to be sure that our policy decisions in education are ones that will further and benefit the learning experiences of the children and simultaneously not further burden the teaching staff, without at least lightening the load elsewhere.

It’s an interesting read:

John Tomsett article

Equally interesting is the link within the article to the message from Geoff Barton within John’s text. Within the complex world of a school, or education in a broader sense, it is all too easy to focus on the problems and difficulties. We all recognize that tendecy, and are often enough, sucked towards it. But read what he has to say about Positivity and collective ambition, a sound message to take into the new year.

The things they didn’t mention during teacher training – no.21, the long range school trip

I wrote this a few weeks ago, but in the chaos and confusion of the week that followed I forgot to post it.

I did my training to be a teacher quite a while back. I enjoyed it and learnt a whole load of useful things that I still make use of and a few completely useless things. I can remember a lot of the workshops, presentations, seminars, reports and exams like they were yesterday. What I also realize now is that there are many things that feature in education that never got a mention and yet are, in terms of my own perception of things, pretty big issues one way or another.

I’m about to embark on a five day school trip. I know that the week ahead will feature a few such experiences. Let me start with the traveling in the bus experience.

We are traveling with about 115 pupils, aged 11-13. We are setting off at 6.30 in the morning, we’ll be reaching our destination at about 7 in the evening. We’re going to be traveling in two buses starting our journey in the central Netherlands and finishing near Swindon in England. The day also involves an hour and a half on a ferry to cross the channel. Oh yes, we are traveling with a group of nine staff members.

None of the children involved are likely to have made such a trip before, and to say that they are excited, nervous and just generally wound up about it is something of an understatement! Keeping a lid on the excitement is kind of the order of the day. No energy drinks, only limited sweets during the course of the day and hopefully it will remain bearable for all.

Three hours into the journey and I’m no longer sitting next to one of my colleagues, I’m now sitting next to a particularly irritating voice in the bus, half way down the bus amongst the boys to apply a calming influence… works up to a point, but it does kind of take the experience of arguing children in the back of the car on a long drive to a whole new level. Only another nine hours to go before we reach our destination.

Ahead is a week of sleep deprivation. Calming 115 children down and getting them to go to sleep at the end of the day isn’t for the faint hearted! Shepherding them as a group through the Oxford town centre in the early evening rush hour isn’t either really. Dealing with the homesick children, the lost telephones, the occasional breakages of this and that, the little conflicts between increasingly tired children as the week goes on all can be added to the list.

It’s fair to say that this is fairly extreme educational experience. 16-18 hour working days for a week are pretty demanding, physically, emotionally and intellectually. Looking back it’s perhaps not so strange that nobody ever mentioned this during teacher training!

The day I met Anselm Kiefer – Using narratives and personal history for getting attention in class

“Look at me, listen to me, be quiet, this is important” thinks the teacher quietly to themselves at the start of the lesson. Yes, that’s what you want, but anyone who’s tried starting a lesson like that will know that it doesn’t often work, certainly not on a week to week basis. So how to start?

In his book, Oops! Helping children learn accidentally Hywel Roberts talks about the importance of the lure….doing something to draw children into learning. A kind of educational strategy that grabs the attention of the pupil and leads them towards the intended learning experience, maybe via a roundabout route, but by using a successful ‘lure’ you capture the attention, imagination or focus of the learner.

‘Tell a class a story’ you are often advised during teacher training. Yes, kids live a good story. For me it’s often a chance to sneak a bit of art history into my practical art lesson, a real or made up story connected to a theme being studied works fine. But I would go one step further, the best lures or educational hooks at the start of a lesson are the ones with a strong narrative line, but the very best ones are the ones with a personal narrative line.

The natural inquisitiveness of a class can be unlocked by a teacher seemingly opening up a little personal history to them. Discovering the teacher has a life outside of school seems to me to be the ultimate lure, the challenge for the teacher is to link something out of their own biography to the lesson material.

I certainly wouldn’t claim everything out our personal lives can be used! But carefully thought out small doses can work fantastically well. We all have incidents and encounters that make for an engaging storyline. A few of my personal favourites that regularly find their way into my lessons are:

  • My brush with the immigration authorities and foreign police when moving to the Netherlands and what I did when told that I would have to leave the country very soon
  • Being first on the scene of a fierce house fire at midnight
  • Going to the cinema and being completely alone in the auditorium
  • Rolling my friends glasses up inside our tent and stuffing the tent into my rucksack at the start of a month long holiday…..with the worst results
  • Meeting world famous artist Anselm Kiefer and discovering after one sentence I had no idea what to say next

Anselm Kiefer, Zweistromland (1986-89)

I could go on, each one of these basic storylines in a lesson situation can be built into the most captivating and lesson related narratives. Yes, with a bit of extra embellishment from time to time, but does that matter? It’s all about bringing the class to the point that you want them to be so that the most effective learning can take place.

I would also add that a little bit of metaphorical undressing of your personal biography rarely does you any harm in terms of a good working relationship with a class.

More on getting the attention of a class can be found here.

Bouncing off the work of others – Tim Walker and Loving Vincent in the Noordbrabantsmuseum

There is a very strange double bill of exhibitions in the Noordbrabantsmuseum in Den Bosch, the Netherlands. Both, in their different ways, lean heavily on the artworks of Dutch masters from the past. British fashion photographer Tim Walker presents a series of larger than life photographs that take as their reference point Hieronymus Bosch’s painting The Garden of Earthly Delights. Meanwhile, in the neighbouring galleries there is The Loving Vincent exhibition, a display of a cross-section of the thousands of paintings made for the Hugh Welchman and Dorota Kobiela film of the same name. To say that these lean heavily on the work of Van Gogh, would be a massive understatement.

Art in general rarely escapes referencing the past in one way or another. All of those who have any form of creative or artistic practice have their own influences that touch and inform their own production. Having said that though, these two particular exhibitions are extremely explicit in their referencing of influences and acknowledging the creative forces that lie behind their projects.

Let us start with Loving Vincent. I’m used to seeing museum spaces filled by paintings made by Van Gogh. I’m a regular visitor to both the Van Gogh Museum in Amsterdam and my local museum the Kroller Muller in the central Netherlands. Both have excellent collections and both have galleries filled with both the Van Gogh’s art and crowds of visitors. From a distance the experience in Den Bosch looked similar, walls filled with vibrant, loosely painted images and crowds of people. There is though a difference, here there is not a single painting made by the famous Dutch man. It is a strange experience. Like the film itself it is rather a strange experience. If there ever was a painter whose work seems, through its inherent vibrancy, not in need of being animated it is surely Van Gogh. Yet the film does have a sort of hypnotic attraction. The relatively course animation techniques seemingly allowing the paint to flow across the cinema screen. Some parts work better than others and shear visual experience does tend to occupy your attention, at the expense of the narrative that the filmmakers were also trying to present.

The whole project is a Labour of Love. An infatuation with these iconic images. With this as a backdrop, and with the film in the back of my mind, the technical process is kind of interesting to see. But does it all warrant a place in a museum. Is it more than an advertisement for the film? I’ve always maintained in my teaching, even to the youngest pupils that art is about the ideas. Are there ideas here on display here?

There is clearly an audience for the exhibition, but I have to confess to feeling strangely perplexed by the visit. What are we actually looking at here? A series of paintings made by artists, or are they illustrators, who are all working in a style that is as close as possible to the way the Dutch master handled his paint 125 years ago.

Tim Walker’s exhibition in the same museum in Den Bosch is rather different. He too reaches back into art history. This time though, to a single work, The Garden of Heavenly Delights by Den Bosch’s most famous citizen, Hieronymus Bosch. Walker acknowledges in the forward to the display that he has always had a fascination for this particular painting. Is it an image of “naïve joy and freedom” or “playground of corruption and sexual deviance” is one of the introductory questions.

Having seen the work in the show I definitely feel that Walker comes down heavily on the latter choice. These are disturbing images. Staged photographs with a painterly quality, figure compositions that ooze a depraved sexuality and nightmarish menace.

Coming as he does from a fashion industry perspective with its slick images of perfection this does come as something of a contrast. Yes there are certainly elements of his fashion roots to be found. Overly theatrical….perhaps, but the photographs in the Noordbrabantsmuseum make for uncomfortable viewing, for me at least. It begs the question, would Bosch’s original work have offered still more uncomfortable viewing for its original audience? Being as it is, a warning of the hellish world that could be waiting for these original viewers back in the sixteenth century, in the afterlife.

Related post:

Hieronymus Bosch, Chris Berens and Oss

Don’t change a winning team…..a classroom film project

Or if you prefer, ‘if it isn’t broken, don’t fix it’. There is a great deal in education that is in a constant state of flux, we hear much about the atmosphere of constant change in our schools. There are many good reasons to remain critical of our classroom practices, to improve and refine. Maybe as a result of this situation is comes as something of a relief when you have a lesson element, or in this case a series of lessons, that works so well within its aims that you feel little need to adjust it.

This is very much the case with the ‘remake’ project that use with our film module that we teach to our fifteen and sixteen year olds. This practical assignment follows on heels of a more theoretical part that has involved discussing various film making practices and skills and watching a movie in class together. In recent years we’ve spent time in class discussing the boundaries of truth and fiction in movies and have made use of films such as:

But to get back to the film making practical, the set up is simple and involves taking an existing short film as the basis and dividing it up into short fragments of, say fifteen seconds. Each group involved is then asked to analyse the fragment that they are allotted, with particular attention being given to what exactly the camera is doing. Are we talking about a zooming or panning shot, a close up perhaps or a birds eye view and how long does each shot last exactly? Having recorded all the camera work detail in a storyboard the groups get down to filming the action as precisely as they can (quite a challenge for some groups!).

This year we’ve been working with one original film, five different classes and something like 120 pupils. 18 groups were formed and each had to deliver just 13.5 seconds of edited film that remade a section of Love Sick, our original short film by Kevin Lacy. Love Sick is very well suited to the project because the storyline is simple and very visual. The that fact that all our actors involved in the remake change every 13.5 seconds can potentially produce quite a lot of viewer confusion, but given this simplicity I think the result still bridges these continuity problems quite well.

Once I have all the fragments, I put them in the right order, take the original soundtrack and add that to the pupil version. Normally there is a little extra editing needed at this stage to try and make sound and image match up as well as possible, but I try to keep that to a minimum. Using the original sound sidesteps the thorny problem of pupils trying to record sound with their mobile devices and in practice works as a sort of glue in holding all the fragments together.

To say that the pupils are keen to see the film at the end of the production is a bit of an understatement! They are desperate to see it! And it provides an entertaining and often very funny element of a diploma presentation evening that we have with the classes at around the same time that the project reaches its conclusion.

Last year’s project

Winning an award….well, nearly

Awards and prizes in education should be taken with a pinch of salt. How can you possibly choose a teacher of the year? Even it was possible to for one organisation to actually somehow consider them all, what criteria could you use to say, this particular one is the best. I don’t dispute that the teachers who win such prizes are indeed very good teachers and worthy of being allowed to stand in the limelight and enjoy the recognition. But singling one out as the ‘best’ seems a little odd.

Having said all that, it didn’t stop me entering a competition a while back for innovative approaches to language teaching here in the Netherlands. Together with Pasi Kirkkopelto, my online art teacher collaborator (who up until now I have never actually met), I had worked on a project last year that seemed to fit the criteria of the competition rather well. It’s a project that I’ve posted before about:

Stating the obvious – language as a tool of communication

Photography, language and communication (a clil assignment)

I filled out the application form, without even mentioning it to Pasi. I was uncertain, it fitted the criteria in my view, but would it do so for the judges? It was a competition that seemed more geared up to full blown language teachers, rather than art teachers who squeeze language education into their lessons on the side.


Two weeks ago, I received a mail to say that our project had been shortlisted and would have to be presented to jury and public at the National Conference for Language Education. Presentation is something that I do feel at home with, so two weeks later I found myself with a stand at the conference with our ‘Photographic Exchange’ project presented as stylishly as I could, given the fact that I had only very limited time to plan how to do it.

Maybe I’m just a bit shy, but I did feel a little like a gatecrasher……as an art teacher at the languages conference.  Perhaps I’ve never quite got over just how bad I was at languages at school, and here I was presenting a project for innovative approaches to language education at a national conference. It’s funny how things turn out!

Anyway, to cut a day long story of conversations with a great many visitors short, the project that we had put together last year was awarded second prize in this competition for good educational practice.


I still think that educational competitions should be taken with a pinch of salt. I know full well that there are other excellent projects out there that for countless reasons never even got as far as being sent in for consideration by the judges.  But what I do know is that we had a good project, one that we as teachers and our pupils worked well with. I also have to say that having your moment on the stage in a huge theatre in front of your peers is, well kind of fun.

The things they didn’t mention during teacher training – No.2, sugar and its effect (or not) on children

I’m not a scientist, I’ve done no research into this area, but for me, the facts of sugar on the behavior of children could hardly have been more visibly seen than it was last week.
I was traveling on a school trip with a group of 115 twelve and thirteen year olds and eight colleagues on a five day trip from the Netherlands to Swindon in the UK by boat and bus. This meant two days of travel and three days of activities in England.

Generally it was a successful week, not without its incidents, but everything we wanted to do has been successfully achieved. However a recurring discussion amongst the teachers team was around the amounts of sugar, sweets and soft drinks that the children had brought with them, purchased during our day out in Oxford and were consuming relentlessly every time that they returned to their rooms.
Children always are boisterous and excited on trips like these, it is a trip that we have done many times before and we are more than familiar with such behaviour. But this year seemed different, they were so hyper at times, pumped up almost tangibly by the sugary rush that many seemed to giving themselves throughout the day.
As I write this it seems almost naïve of us to allow them free reign with their sugar enriched diet. It does look sometimes like the inclusion of a large bag of sweets is an almost obligatory part of any Dutch school outing. Parents seem more than happy to facilitate this and we regularly see children arrive with a suitcase that has obviously been packed by a parent also being a suitcase that is overflowing with packets of sweets, biscuits and chocolate just to get them through the five days away!
Having got back home I have done a little research into scientific evidence of ‘sugar highs’. Surprisingly, although I could have found articles of support, the majority of the articles talk of ‘sugar highs’ and ‘sugar rushes’ being something of a myth. My evidence is very much of the anecdotal type, but it certainly felt like a pretty real thing last week. Yes, the kids were wound up by the general experience of being away, but somehow something more seemed to be going on!
For me and my colleagues a limit has been reached this week, absurd amounts of calories have been consumed with apparently resulting sugary kicks. We have agreed that the time has come to enlighten the parents on the problems we face when trying to calm and slow the children down at the end of the day at bed time. It may or may not help us in future, but there are of course numerous other extremely valid reasons for trying to reduce the intake of sugar in or young people.