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c)the resources you are going to use

d)the structure of your review

e)a possible headline of your review

1. FIRST DRAFT

Based on what you have learnt about the genre text, produce the first draft of your article. Take into account:

•the content, structure, language and style typical for the genre

•contextual vocabulary and grammar

•the tips from experts

2. SECOND DRAFT

SELF-EDITING:

•Read your first draft from the beginning to the end and backwards to check its internal logic and coherence. Pay attention to proper paragraphing, transitions, text and sentence connectors.

•Proofread your work: revise your text to make sure it is accurate in vocabulary, grammar, and punctuation.

•Make sure the text is in conformity with the requirements and norms listed in the Style Guidebook.

•Produce the second draft.

•

3. THIRD DRAFT

PEER REVIEW:

•Swap the second draft of your review with your groupmate to edit each other’s work.

•Use the Peer Review Sheet or/and the Peer Feedback Form, as instructed by your teacher.

•Based on the peer review, produce the third draft of your article.

•Send the draft to your teacher for grading and feedback.

4. CLEAN COPY

GETTING FEEDBACK FROM THE TEACHER:

Analyse the feedback from the teacher and introduce necessary changes to your draft. Produce the clean copy of your article.

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FURTHER RESOURCES

1. For discussion/debate:

•Is advertising art? https://www.independent.co.uk/arts-entertainment/is-advertising- art-1593252.html

•The revolution of the Back Square https://www.youtube.com/watch?v=lozgR-z2Sck + the Black Square video worksheet in Supplementary Materials Section B3.

2. TED TALK:

•Why art is important https://www.youtube.com/watch?v=UPk56BR1Cmk

•You don’t need talent great skill to be a great artist https://www.youtube.com/ watch?v=fje0JEvzG50

•What makes photography art https://www.youtube.com/watch?v=6j8QVfNwZf8

3. For listening and note-taking:

a)Michelangelo’s David to be protected from earth tremors https://www.bbc.com/news/av/world-europe-30567298

b)As Sistine Chapel turns 500, Vatican may limit visitors https://www.bbc.com/news/av/world-europe-20151583

4. Reviews

Examples of reviews: http://www.caareviews.org/reviews/exhibition

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SUPPLEMENTARY MATERIALS FOR UNIT 2

SUPPLEMENTARY SECTION A: ADDITIONAL TEXTS

A1

TEXT 1

Tips On Writing An Exhibition Review

The information in the art review does not have to be in a particular order, all the points do not have to be covered and the categories are not mutually exclusive.

Of course, giving the reader certain information before other points makes more sense – for instance, a physical description of the work should come before interpretive points, which rely on a knowledge of the physical description of the work.

Remember: reviews are relatively short, make every word count, choose your adjectives and adverbs with great specificity and economy. For example, think of the different connotations which arise if you describe a way of working as “traditional” rather than “common” or “usual”. Don’t fall into banality, be interested in the work.

You do not have to be “objective” – the reader understands you are putting forth your own opinion – choosing to write about a specific exhibition already indicates a certain investment in it. You should, however, be as informed as possible about the artist, the contemporary and historical art context, the specifics of the work (its topics and particular cultural/social/historical/material references).

Talking to the artist or curator directly is how a majority of reviewers glean important information – however, their opinions/intentions are not “the truth” or necessarily more authoritative than your own.

Be prepared to spend some time at the gallery, take notes, make sketches, ask for reproductions if they are available, ask if you can take some photographs if you want to refer to these while writing.

After you write your review make sure to follow up and send a copy to the gallery, they will pass it on to the artist and keep a copy for themselves.

TEXT 2

Steps to Writing a Good Exhibition Review

•Read any texts that are on the walls.

•If a brochure is available at the exhibition, take it, read it after you have walked through the exhibition once, and then walk through the exhibition at least once more. On this

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second trip, you may want to record your responses to comments made in the brochure. Save the brochure, or buy a catalogue if one is available, such material will provide sources for the illustrations in your paper.

•If an audio program is available, listen to it as you go through the exhibition. Take notes on the comments you think are noteworthy

•Take notes while you are at the exhibition; don’t assume you will remember titles and dates, or the ways in which works are juxtaposed, or even all of your responses to individual works.

•In your first draft, don’t worry about limitations of space. Put down whatever you think is worth saying, and later revise the review to bring it within the established length.

•Give your review an interesting title: «A Review of an Exhibition of van Gogh’s SelfPortraits» but perhaps «Van Gogh Looks at Vincent.» The final version of the title will probably be almost the last thing you write, but make certain that the final draft of the review fulfills expectations that the title arouses.

A2

Is Advertising Art?

THE CREAM OF BRITISH DESIGN & ADVERTISING

Saatchi Gallery, London

Picasso liked to say that all art is copying, although when someone copies someone else today, the smell of litigation pervades the art world air as odiferously as linseed oil and varnish. Jay Jopling and Damien Hirst were not amused (and threatened legal action) when the Saatchi Gallery made a cutesy play on Hirst’s infamous Away from the Flock (dead lamb in a case of formaldehyde) in its advertising for its current exhibition of advertising: “The Cream of British Design & Advertising”.

This seems a little rich given that “contemporary” artists have been plundering the iconography of advertising for the better part of the past 40 years. Andy Warhol turned the Campbell’s soup can into art; since then artists have gone through a veritable supermarket of tins, bottles and labels.

So, if they get huffy when advertisers (as represented in the current Saatchi show) lift, adapt or “pay homage” to various contemporary artworks, they are surely getting too uppity for their own good. Perhaps artists and their puppet masters have learned only too well over the past decade the degree to which copyright laws established in the United States are now filtering through to the United Kingdom: there is often more money to be made through legal action than in the creative act itself.

The question of who is ripping off whom is a delectable one. Shakespeare was not averse to

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borrowing from ancient and, even, contemporary authors. Turner quoted Claude in sunset oils. In Kubla Khan, Coleridge borrowed a great chunk barely altered from Purchas: His Pilgrimage (1613). Mahler paraphrased (or made what we now call “knowing references”) to Wagner. Should they have been sued? By Hirst and Jopling’s criteria (money?), of course. On the basis of art, history and common sense, no.

The other question raised by Saatchi’s exhibition is that hardy perennial: is advertising art? Or, perhaps, given the number of contemporary ads that make reference to contemporary art, is art advertising? The simple answer to these questions is that art feeds advertising and vice versa.

Advertising is without doubt an art form. It can nurture interest, however superficial, in new movements in art and design, bringing these to the attention of huge audiences. Conversely, an artist like Warhol does sales of Campbell’s soup a favour. When someone who would never drink the stuff displays a shelf crammed with condensed chicken soup and says, without a trace of irony, “It’s my homage to Andy Warhol”, you feel that here is truly a case of art masquerading as advertising advertising art. Or something to this inscrutable effect.

In any case, it makes perfect sense that an exhibition celebrating the work of advertising agencies playing with contemporary art should be shown at the Saatchi Gallery, playpen of a man who has made a fortune in advertising and now spends it on sensational art that advertises itself as loudly and as effectively as anything Saatchi & Saatchi could have come up with in their prime. Here is a showcase of Charles Saatchi and the Design & Art Directors’ Association having their cake and eating it.

A3

STEPS TO WRITING AN EXHIBITION REVIEW

•Walk through the gallery to make observations about the art. Block off 1-2 hours to experience the art exhibition so you have plenty of time to examine the artwork. Move through the exhibition slowly, examining each piece of artwork. Additionally, watch how other people are reacting to the exhibition.

•Look at the art from different angles and distances. While it’s important to examine each piece closely, you also want to take in the entire exhibit as a whole to see how the artist evoked their theme.

•Take notes on the description, form, content, and your impressions. Be as detailed as possible so you can use your notes to write the full review. Write down the medium, materials, and techniques used to create the piece. Then, note the title and theme of each work. Finally, record your reaction to the art, how it made you feel, and what worked or didn’t work within the piece.

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ASK YOURSELF QUESTIONS LIKE:

•Why are the works of art ordered or arranged this way?

•Does a particular work stand out from the rest?

•Is there a theme or a subtext to the exhibition?

•Does the theme or thesis become obvious as I walk through the space?

•How is this exhibition different from others I’ve seen?

•Identify the main idea and important themes of the exhibition. Write down your own impressions of the exhibit’s main idea and themes. Then, read the artist statement and exhibition description provided by the gallery to learn the artist’s intended themes. Compare your interpretation of the exhibition to the artist’s intentions.

•Talk to a docent or curator to learn more about the exhibition. A docent or curator will have more in-depth knowledge about the exhibition that they’ll be happy to share. A docent can tell you the information they normally point out to visitors.

•If it’s a travelling exhibition, look at the reviews from prior installations. Use their ideas to help you complete your own analysis of the exhibition, but make sure you draw your own conclusions.

SUPPLEMENTARY SECTION B:

TEMPLATES AND WORKSHEETS

B1

EXHIBITION REVIEW RESEARCH SHEET

HEADLINE OF THE ARTICLE:______________________________________________

AUTHOR: _______________________________________________________________

PUBLICATION: __________________________________________________________

TITLE OF EXHIBITION: ___________________________________________________

1.What’s the concept behind the exhibition?

2.What pattern of narration is used? (E.g. historical period + description of exhibits illustrating that period.)

3.Does the first sentence of the introduction hook the readers?

4.Does the introduction answer the 5 Ws?

5.Is there a thesis (the author’s key point) in the introduction?

6.How are the introductory and closing paragraphs linked?

7.Comment on the last paragraph and last sentence of the article. Are they effective?

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8.How is opinion expressed? Which structures prevail, explicit or implicit?

9.Write out the art-related vocabulary (verbs, nouns, adjectives, adverbs and their combinations) that could be used by you to describe other exhibitions.

B2

Comparing Two or More Texts

Content: In your own words, what is each text saying?

Similarities: How are these texts similar, connected or related? How are they alike, whether in terms of subject matter, theme, purpose, tone, etc.? What specific lines and details echo each other or connect?

________________________________________________________________________

________________________________________________________________________

________________________________________________________________________

Differences: How are the two different – again, in terms of subject matter, theme, purpose, tone or anything else? Where do they “disagree”?

________________________________________________________________________

________________________________________________________________________

________________________________________________________________________

The Two Texts Together: How does reading the two together make you see or understand things you might not if you read them separately?

________________________________________________________________________

________________________________________________________________________

________________________________________________________________________

Questions and Reactions: What questions do these texts and their content raise for you? What reactions do you have to them, either individually or together? Use the reverse side of this sheet to write your answers.

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B3

The video is available at https://youtu.be/lozgR-z2Sck

The Black Square Video Worksheet

1.Why is Malevich’s Black Square a revolution?

2.Which two movements inspired Constructivism?

3.What was the name of the first exhibition of the new art movement? Decode the name.

4.What was striking about the room created by Malevich?

5.Why is the Black Square so significant?

Complete the sentences:

1)about the Black Square:

a)It’s about ….

b)It released…

c)It made art…

d)It created art…

e)It wasn’t…

2)about the new movement

a)(The exhibition) was part of the movement called …

b)Malevich himself founded a movement called …

c)Constructivism takes its starting point from …

d)Industrial buildings are driven by …

e)It presented new materials such as

f)One drive of suprematism was…

g)The other was …

h)Many artists are drawn to the dynamism of …

Mention any other interesting facts that you learned from the video.

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B4

The video is available at https://www.youtube.com/watch?v=6j8QVfNwZf8

LISTENING WORKSHEET: WHY ART IS IMPORTANT

1. As you listen, fill in the gaps with words having negative prefixes.

a.Art is _________________ necessity.

b.Without art the banality of reality would be _____________ .

c.In today’s complex world I believe that art for art’s sake is __________________ .

d.It’s difficult to pigeonhole and categorise what exactly art is and how it functions. That is its beauty ad that is its ___________ value.

2. Fill in the gaps:

a.Art can crack a) _____ cemented opinions.

b.It looks at the world b) ______ a critical eye.

c.It opens c) ______ horizons.

d.It exposes that which is often hidden d) ______ the carpet.

e.It reaches further than the accepted and the known and e)_________ the inevitabilities we were told we cannot escape.

f.Art functions as the conscience of society. It … testifies f) ____ the power of human imagination.

g.… the unique capacity of humans to project, to dream and to reflect g) ____ things not only as they are but as they could or should be.

B5

https://www.youtube.com/watch?v=6j8QVfNwZf8.

What makes photography art?

DISCUSS THE FOLLOWING POINTS:

1.How effective is this talk?

2.What’s its structure like (the beginning, the middle, the end)? What does the speaker include in each part? What’s the climax?

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3.How effective is her manner of delivery?

4.What’s your takeaway(s) from the talk?

TAKE NOTES:

1.Write down all sentences in which the speaker gives figures, statistics, years, percentage.

2.What’s magical about the frame?

3.List all the factors mentioned by Flore Zoe which made photography art.

4.Where did Flore see her photos hanging?

5.How does she finish her talk?

VOCABULARY WORK:

Look up the word “shot” in a dictionary. What are its different meanings? Write down examples. Can you interpret this phrase used by Flore in her talk: - I’ll give it a shot

SUPPLEMENTARY SECTION C: GRAMMAR

C1

The Grammar of Numbers

The use of singular or plural form of the verb with the nouns denoting numbers depends on whether the noun refers to a single entity or to plural items and, often, on whether the noun is preceded by a or the.

Take total, number and range, for instance. When preceded by a, these nouns usually team up with a plural construction and are treated as plural. When preceded by the, they refer to a single entity and are singular.

•A total of 82 dancers have signed up for the cha-cha competition.

•The total has exceeded our expectations.

•A number of adolescents are wearing midriff-baring T-shirts this summer.

•The number of adolescents wearing midriff-baring T-shirts this summer is higher than ever.

•A range of homemade jams, jellies and chutneys are for sale at this year’s craft fair.

•The range of products for sale at the fair is staggering.

It helps to realise that when we combine such nouns with a, we create familiar expressions that are often synonymous with some, many or numerous and are therefore plural. This realisation can help with other words, such as bunch and couple, whose number is determined more by their sense than by the preceding article.

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