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CO BAC BANKSY RUINS OWN ART + Anticipation unit 3

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CO BAC BANKSY RUINS OWN ART + Anticipation unit 3

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Read the vocabulary, search the words you do not know on linguee 

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Read the vocabulary, search the words you do not know on linguee 

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EXPLORING A PAINTING focusing on its multicultural and historical aspect

EE     choisir un tableau, le décrire à l’écrit dans un paragraphe             structuré en abordant son aspect historique et multiculturel             (dans quel contexte il a été peint)

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HArtstory     Néologisme analyse du mot et tentative de définition    - Art is a way of reminding a story but also telling a story

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painting the world by pauline.nabucet on Genially

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Discover more about painting the world ✌️ - Personalized

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Watch the video, and analyse the way the painting is described

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Watch the video, and analyse the way the painting is described

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https://www.youtube.com/watch?v=9JgHNcNPlTs

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Décorticage de la video et listages des compétences pour la tche finale

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Décorticage de la video et listages des compétences pour la tche finale

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How to describe a painting, what tense ?

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How to describe a painting, what tense ?

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imagine what the young woman might think

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Screenshot_2019-01-01 Monumental Basquiat could fetch $58 mil at May auction

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Réapplication des éléments vu lors de la séance d’avant     sur une peinture de Edward Hopper Night Hawk vérification des acquis.

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Réapplication des éléments vu lors de la séance d’avant     sur une peinture de Edward Hopper Night Hawk vérification des acquis.

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Screenshot_2019-02-03 Ordre des adjectifs Grammaire anglaise EF

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antipation, cacher le sous texte, description de l'image 

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antipation, cacher le sous texte, description de l'image 

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Is the painting ironic ?  Why was it painted here ? (present perfect + hypothèse

vocabulaire; to Make a Stand, to raise awareness,

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Screenshot_2018-12-11 Banksy Strikes Again, Leaves Mark on School Wall

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CO en groupe ( penser à réaliser les questions)

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CO en groupe ( penser à réaliser les questions)

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Ronde des sentiments rebrassage

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DEMANDER DES RECHERCHES SUR LES MURS DE BELFAST EN AMONT ET DEMANDER UN RESUMÉ EN ANGLAIS WHY THERE IS SO MUCH MURAL IN BELFAST ?

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DEMANDER DES RECHERCHES SUR LES MURS DE BELFAST EN AMONT ET DEMANDER UN RESUMÉ EN ANGLAIS WHY THERE IS SO MUCH MURAL IN BELFAST ?

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TI en salle informatique

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The problem we all live with. Norman Rockwell, 1964

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make a summary of the video and the painting by using mostly the present progressive

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Watch the title and discuss, what do you think ?

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Watch the title and discuss, what do you think ?

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You've definitely heard the story of how Ruby Bridges desegregated the New Orleans school system in 1960 at the age of 6. For many young people it seems like something that happened a long time ago. To put things into perspective, it is 2017 and Ruby Bridges is only 62-years-old.

Yes that is right. Ruby Bridges, the brave child who President Eisenhower had to send in U.S. Marshals to protect as she went to school surrounded by angry white mobs is only 62. But it really does not sink in until you see how young she looks today, that you realize that the Civil Rights Movement did not happen that long ago.

Take a look at some of the pictures from 1960 of protesters gathering at William Franz Elementary School in New Orleans, Louisiana to protest Ruby Bridges on her way to desegregate the schools. (P.S. Many of these protestors are likely still alive and voting on policy that affects us all. They were, after all, politically active here.)

It does not really sink how recent Civil Rights Movement is until you see these pictures of what Ruby Bridges looks like today.

Just a reminder that desegregation and the Civil Rights Movement did not happen that long ago. Another reminder: the fight continues.

Share this on Facebook if you think this deserves to go VIRAL

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Ruby Bridges, the Little Black Girl Who Desegregated New Orleans Schools Is Only 62. Let That Sink In.

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You've definitely heard the story of how Ruby Bridges desegregated the New Orleans school system in 1960 at the age of 6. For many young people it seems like something that happened a long time ago. To put things into perspective, it is 2017 and Ruby Bridges is only 62-years-old.

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Anticipation de l’unité 2 Creation and recreation             (réagir au détournement des images)    

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Anticipation de l’unité 2 Creation and recreation             (réagir au détournement des images)    

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Début du lexique sur les sentiments

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(a rendre pour la seance 11)

Choose a painting,  RECREATE IT AND Explain what this painting means to you in a AUDIO ( AUDIO + IMAGES envoi par clé usb/Padlet)
DEFINIR LES COMPÉTENCES EN CLASSE

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CREER UN PADLET POUR AFFICHER LES PHOTOS AVEC UN MOT DE PASSE ET DEMANDER AUX ÉLÈVES DE S'ENREGISTRER DIRECTEMENT SUR LE PADLET SOUS LEUR PHOTO
PENSER A FAIRE UN SONDAGE APRES SUR LA FACILITÉ ET SUR LES POSSIBILITÉS DU TRAVAIL EN AUTHONOMIE

EXEMPLE EXPLIQUÉ EN CLASSE, ENREGISTREMENT FAIT EN CLASSE ET DISPO SUR PADLET POUR AIDE,
A COMPARER AVEC LES AUTRES CLASSES

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American Gothic, Chicago AI
But Seriously, Internet Domain
Different Perspective, Columbus, OH
No Laughing, Columbus, OH

A small house in Iowa built in the Carpenter Gothic style caught the eye of American painter Grant Wood in 1930. He decided to paint the house with "the kind of people I fancied should live in that house". So, he painted the house, added his sister and then added his dentist to the scene. The Gothic window, the stitching in the farmer's overalls and the shape of his face all conform to the three-pronged shape of the pitch fork. Wood's sister Nan didn't like the notion of being perceived as married to a man twice her age, so she promoted the concept that this painting depicted a man and his daughter. The painting earned Woods a bronze prize at Chicago's Art Institute and they bought it. Although art critics assumed it was a satire on rural America, it became a symbol of the American pioneering spirit at the onset of the Great Depression.

Over the years the image of the grim-faced couple has morphed into a cultural icon, mainly due to its adaptation to parodies in our popular scene. Woods probably helped to promote this when he was quoted as stating, "All the good ideas I've ever had came to me while I was milking a cow." It was ironic to photograph one of the Chicago Art Institute's most frequented artworks and then drive through Columbus, Ohio to find one of the parodies on the brick wall of a side street-a street so isolated that through truck traffic was prohibited. I mean, seriously, who better to send that particular message to the local populace than none other than Grant Wood's own puritanical dentist!

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American Gothic, Chicago AIBut Seriously, Internet DomainDifferent Perspective, Columbus, OHNo Laughing, Columbus, OH A small house in Iowa built in the Carpenter Gothic style caught the eye of American painter Grant Wood in 1930. He decided to paint the house with "the kind of people I fancied should live in that house".

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rebrassage des emotions et des réinterprétations

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Ella Watson: The Empowered Woman of Gordon Parks’s ‘American Gothic’ (Published 2018)

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Gordon Parks’s photograph “American Gothic” afforded rare attention to a black female subject who was not a celebrity or entertainer, but a mother and a worker.

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do you know any artist renown to raise awareness thanks to art ?

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QVTTAFCOM

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Banksy Artwork Shredded After Selling at Auction May Have Increased in Value

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UNIT 3 EVOLUTION Porter l’attention sur le fait que l’art évolue ART IS EVOLVING (right now) rappel grammatical     

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UNIT 3 EVOLUTION Porter l’attention sur le fait que l’art évolue ART IS EVOLVING (right now) rappel grammatical     

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parler du future ? oui mais comment ?
grammar corner rappel du future et du future progressif

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What is art for you, what is its purpose ?

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What is art for you, what is its purpose ?

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2,45, 4,00

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a editer sur edpuzzle possibilitée homework ?

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Is graffiti art? Or vandalism? - Kelly Wall

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what is the use of a mural ? (reutilisation Banksy) ==> To make a statement, taking a stand https://www.reuters.com/news/picture/northern-irelands-murals-idUSRTR3EE6I

observe !

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what have you learn on the belfast murals ?
what can you say on this one
Etude du poeme, Peace, retutilisation, to make a statement a call for peace

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art is cultural ( aide pour la realisation de la trace écrite)

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Once they were threatening symbols of paramilitary control, but now Belfast's murals have new themes, as Jamie McDowell and Kerry McKittrick discover

As the heat of the Troubles lessened in the mid-'90s, the remaining embers of tension were cooled by talk of a new beginning.

The peace process has spanned decades, and the length of time it'll take the paramilitary groups to completely fizzle out can't be easily predicted.

Some observers argue that the transgression from politically mobilised militant groups to criminally motivated street gangs has been all too easy. Some groups still prefer to operate under the name of their previous paramilitary organisation, taking advantage of the fear that their often abbreviated collective title strikes into the heart of communities.

Within loyalism, murals were traditionally aggressive in their nature. They were markers, often depicting handguns, masked men and the hallowed AK-47. They separated communities, showed who was in charge and also served as tactical borders - reminders to rival loyalist factions whose turf it was - and it need be respected.

In recent years, the face of the mural has changed. Community groups have worked tirelessly to remove the gunmen of the gable wall and replace them with messages of hope and achievement.

In north Belfast, an iconic mural on Cultra Street in Tiger's Bay has been replaced.

The previous mural portrayed two gunmen flanking a huge tiger's head with a UFF (Ulster Freedom Fighters) emblem to the left and UYM (Ulster Young Militants) one to the right.

Artist Ross Wilson and Tiger's Bay resident Leanne Marshall have helped spearhead the movement to have images in this part of the city changed.

"I wanted to help as long as the children had a say in terms of what went up," explains Ross.

"Three words emblazon the new image of a tiger's head; community, pride and culture. I did the painting with about 20 primary seven kids from Currie Primary School on the Limestone Road.

"I was very surprised how radical the people in the area were in terms of their attitudes towards changing them. Paramilitary leaders were very positive about it.

"In a different part of north Belfast I also worked on replacing a mural with an image of a woman called 'Mother, Daughter, Sister.' Some young girls wanted something that would be representative of them."

Leanne adds: "We want to change murals so they're not territorial any more. The community is taking control.

"Before, kids who were born after the peace process would look at the paramilitary murals and everything they knew about the Troubles would be based on that."

Explaining how her area has changed, Cailin Hardy at the east Belfast Partnership, outlines how an area called Kenilworth Place, off the Newtownards Road, has re-invented itself: "We recently finished a cultural mural called 'No More' that replaced the old redundant and deteriorated Titanic themed mural located in Kenilworth Place.

She says: "Originally the Titanic mural was positioned away from the main road and a political mural was visible on the main road. We worked with local community reps and agreed the replacement 'No More' mural would be inset off the main arterial route on the Newtownards Road and the replacement Titanic mural would be on the road and act as a greeting to visitors to the area.

"The 'No More' mural depicts an image of east Belfast lad Dylan Wilson holding hands with Dearbhla Ward, a local girl from Short Strand. It promotes a more positive cultural image."

At Skipton Street, off the Albertbridge Road, a mural depicting sporting triumph records the exact hour, minute and date that David Healy scored his winning goal against England for Northern Ireland at Windsor Park in 2005.

A few hundred yards down the road is an image of iconic loyalist political leader David Ervine with the yellow cranes of Harland and Wolff in the background.

Local residents Sally Hegarty and her son Adam (14), from east Belfast, both approve of the new artwork. "I think the new murals that are going up are a lot less intimidating than the older ones," says Sally.

"I was talking about the murals with friend the other day and we agreed that the people in north Belfast seem to be at the forefront of changing the face of murals.

"Some of the historical ones are brilliant. If you don't know much about the history of the area they bring a new aspect, especially for tourists. Sometimes we see bus loads of Germans stopping to take pictures of them. It's good for the area."

And Beersbridge Road resident, Danny Costcallde (23) adds: "I think it's great to see artists working on new stuff and that there are less guns in the pictures. It makes the community look less threatening and shows a little bit of history at the same time."

The artists' impressions ...

Some artists who design and create these murals across the country prefer to remain anonymous for obvious reasons. The process of creating a mural takes time, and while a traditional artist may enjoy the safety and comfort of their own studio to ply their trade, the street artist has a minefield of social and political issues to address.

Mark Ervine (37), the son of the late PUP politician David Ervine, is one such artist. He decided not to follow his father into politics, and instead, choose the paintbrush to tell the story of his Protestant heritage. The dad-of-two lives in Belfast with his wife, and was one of the main contributors to the recent Base street art festival held in the Ulster Hall in January.

"I started painting when I was about six," says Mark. "There was a painting competition in our community group in east Belfast and I won. That was a great feeling and I've been doing it ever since."

Mark has made his name through painting murals, but has never done anything for a paramilitary organisation: "I've always painted political murals, but not paramilitary ones though I've been asked to do so.

"I've always been interested in Protestant culture - a result of being constantly told when I was growing up that I didn't have one. We weren't taught it in school, so learning about your history was an extra-curricular activity. Through my murals, I try to represent the key moments that have affected Protestants down the years."

Mark's work has earned critical acclaim - and also landed him in a spot of bother. "In some areas, I obviously have to ask for permission before going to work on a mural - especially if it's on top of a paramilitary one. For example, in 1998, after the Good Friday Agreement was signed, I painted a scene of St Patrick over a UVF mural - with permission - in east Belfast. It didn't really go down too well. I wanted to point out that St Patrick was just as much a part of Protestant culture as any other culture . Unfortunately, a few people thought differently and it caused a furore. For me, it's all about identifying with something and putting it out there for debate."

Mark also told of the encouragement and inspiration his late father gave him: "Dad helped me greatly, right from the start. Years ago, drawing or painting murals was a pretty dangerous pursuit. You could get shot dead while doing it, and mixing with other the 'other community' just simply didn't happen. When I look at some of the things we paint now, I'd never have even thought about doing them before 1998. But even now I have to be careful in case I upset the wrong people. "

Mark has been collaborating with another mural artist, Danny Devenny, a former republican prisoner.

Their works on Divis Street include a copy of Picasso's 'Geurnica' and a mural in recognition of the International Brigades who fought against General Franco during the Spanish Civil War. "If someone had told me 20 years ago that I'd be working with a former republican prisoner today, I wouldn't have believed them," says Mark.

Mark shows me one of his murals at the Rex Bar, on the Shankill Road. It depicts Sir Edward Carson signing the Ulster Covenant in 1912.

"This is another example of a mural that has been changed a bit [by people altering it], but it's one of my more historical ones," he adds. "There are so many different styles of street art. If you look at Italy, France and England and the graffiti scenes there - then in South America, with the politically motivated murals in Mexico and Peru to do with workers rights, there's so much variation.

"And when I look at where I come from, with the culture and the history, I can't help but think, why shouldn't Belfast be a part of that movement?"

'One Falls Road school has eight of my murals on it'

Frank Quigley (57) lives in west Belfast. He says:

"I first started painting when I was in prison for arms possession at Long Kesh in 1973. It was something I started doing on my own. I was in and out of prison a few times, the last time being in Portlaoise between 1982 and 1988.

When I got out I started portrait painting and dabbled in photography. I won a scholarship through the Millennium Commission to arts college in Belfast and did a degree in fine applied arts.

Then I started working as an artist. I did some portraits and photography and a few political murals. It was in 1989-1990 that I started painting murals properly.

The first cultural mural I did was commissioned by the Probation Service. Myself and a Mexican artist were asked to work with some young people to create it.

I've now painted about 50 altogether. One building in particular - St Comgall's Primary School on the Falls Road - has eight of my murals on it. Some of them take a couple of days to do, others can take weeks.

Because I work with so many groups now I try and let the young people work with me. They give input into the design and do a bit of painting to fill in outlines.

I'm a jobbing artist so the murals are only part of what I do. But they are a big part.

I even did my thesis in university about them."

'They remind folk what they don't want to go back to'

Dee Craig (38) lives in east Belfast. He says:

"At secondary school I started to paint murals for people in their children's bedrooms and then began painting murals. One of the first was at the time of the Anglo-Irish Agreement - a Red Hand of Ulster, with the thumb down and a big NO on it.

The change in murals has gone along with the changes in Northern Ireland. The murals are a bit behind the politics, though. The ceasefires and the Good Friday Agreement had a big impact. After the loyalist ceasefire I painted a mural at Mersey Street of hooded men but they weren't carrying guns. It's important for the community to see that while the guns are gone the men and the cause are still there.

Children need to see political murals to find out about their history. Murals also remind people what they don't want to go back to.

Murals are a community thing - they want them painted, both the political and the historical. We have workshops where each group decides what kind of message they want the mural to have.

I painted a mural at the interface between the Short Strand and the Newtownards Road. It features a poem, No More, by a community worker, Jim Wilson and shows Jim's grandson shaking the hand of a girl from Short Strand. It's one of the first cross-community ones on the Newtownards Road."

Bill Rolston (63), professor of sociology at the University of Ulster, has written books on murals. He says:

"Northern Ireland's mural painting tradition dates back to 1908 and is the oldest continuous one in the world. I became interested in murals at the time of the IRA hunger strikes in 1981 when there was an explosion of republican murals. Then I noticed the murals in unionist areas which had been around for longer.

In the 1980s all murals were political but not necessarily paramilitary. After the 1985 Anglo-Irish Agreement the murals in loyalist areas started to become almost exclusively paramilitary. They were almost solely under the control of whichever paramilitary group was active in the area. Loyalists weren't aware of their history the way republicans were so other themes disappeared.

Republican murals were more varied in their subject matter - as well as paramilitary ones, there were political and historical ones commissioned by women's groups and trade unions.

After the 1994 ceasefires and the Good Friday Agreement in 1998 painters in republican areas decided not to paint hooded gunmen any more. The guns are still there, but only in murals with historical or remembrance themes.

They had plenty of material to fall back on - mythological or historical scenes. But loyalist areas have little tradition other than the paramilitary murals. Once they stopped painting the gunmen they had little else left.

The Re-imaging Communities Programme was started in July 2006 by the Arts Council of Northern Ireland. The aim was to create more welcoming environments in the community. There were movements before that. In places like the Newtownards Road Rev Gary Mason was working to get paramilitary mural replaced by ones of people like George Best - local heroes. The Re-imaging Programme brought everyone together.

Murals are part of our history and shouldn't be sanitised. I want to have the gunmen out of the murals, but the trick will be to keep the politics. The politics of these murals is our history."

Belfast Telegraph

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Belfast's murals: Off the wall? - BelfastTelegraph.co.uk

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Once they were threatening symbols of paramilitary control, but now Belfast's murals have new themes, as Jamie McDowell and Kerry McKittrick discover As the heat of the Troubles lessened in the mid-'90s, the remaining embers of tension were cooled by talk of a new beginning.

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https://vimeo.com/71867019

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Murder, sex, drugs, art, politics… sneakers hanging on telephone lines have become a powerful urban symbol, inspiring genesis theories both hilarious and sinister. In an effort to get to the truth once and for all we asked the people of earth to help us solve this mystery. Using an on-line call out and a phone message bank, this documentary was made entirely from donated photographs, phoned-in theories, video, vlogs, and animation.

The Mystery of Flying Kicks is the result of a unique digital collaboration between the filmmakers and the international public.

Directed by Matthew Bate
Watch Matt's feature Documentary 'Shut Up Little Man! - An Audio Misadventure' - on demand on VIMEO - https://vimeo.com/66795363

Official Site: www.flying-kicks.com
Facebook - like us!: www.facebook.com/closerprods
BUY the DVD: http://www.closerproductions.com.au/shop/products/flying-kicks-dvd-and-poster-package

WORLD PREMIERE -  SOUTH BY SOUTHWEST 2010 
WInner Best Short Documentary: MELBOURNE Film Fest 2010 // DOC EDGE NZ 2010 // CURT DOC SPAIN 
Official Selection: Edinburgh Film Fest// Sheffield DocFest // Sydney Int // Brooklyn // CPH:DOX 

Produced by Viron Papadopoulos

www.closerproductions.com.au

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In group, write a text . How Art will be tomorrow, anticipate future artwork./ Draw a futuristic artwork and give its signification (be the artist) (réutilisation grammatical)

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seance fourre tout pour finir les autres cours + QCM de rebrassages 

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seance fourre tout pour finir les autres cours + QCM de rebrassages 

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TEST BONUS SUR LE LEXIQUE QUI SE TROUVE SUR PADLET

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plickers Kahoot

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A REALISER

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Screenshot_2019-01-01 phonetic_alphabet gif (Image GIF, 589 × 377 pixels)

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CLE USB

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Is graffiti art? Or vandalism? - Kelly Wall

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Edpuzzle video lesson. Make any video your lesson. Take a video and crop it, add your voice or embed questions at any point.

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Video Bonus pour en savoir plus sur les oeuvre de banky, ( faire un google form pour savoir qui l'a visionné et pourquoi 

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Video Bonus pour en savoir plus sur les oeuvre de banky, ( faire un google form pour savoir qui l'a visionné et pourquoi 

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00 min to 0,37

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Drive Slowly, Paint Fast: A History of American Graffiti

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PREPARATION EN GROUPE YES NO ET OBSERVATION SI DES ELEMENTS HISTORIQUES RESSORTENT TEL QUE LES MURS DE BELFAST

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rédaction de la TI

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The Problem We All Live With. Norman Rockwell. 1964 by Nabucet

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TOUCH this image to discover its story. Image tagging powered by ThingLink

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finish your description sumary + more info on year 1960-1964

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VIDEO A POSTER SUR LE PADLET CLASSE
VIDEO POSSIBLE A PARTIR DU PADLET, ORBSERVER QUI S'EST SERVI DE L'APPLI

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Conclusion,

The painting talks about DESEGREGATION

(contrary of segregation, can also be compared with discrimination  = the separation of the black people and the white people it was allowed by the JIM CROW LAWS which lasted from 1874 to 1975 ) this painting portrays the time in between the segregation time and the integration time

It was painted in 1964 = the date when segregation ended in all the US but it depicts the year 1960 (14 november) when the first black american girl was integrated in a white school. Indeed Ruby bridges was the first to experience the desegregation in the SCHOOLS.

On this painting we can see a little girl in the middle of the picture, she is all dressed in white, She is escorted by 4 us marshal which mean that she needs protection from the angry mob/crowd gathered to prevent the 6 yo to go to school

Her white dress is radiant and shines through the picture which contrasts with the blackness of her skin and the redness of the tomato which has been thrown on the wall, the face of the girl is very peaceful but the harshness of the colors and the military ambiance of the painting make us realise the dichotomy between the purity/innocence of the young girl and the violence carried by the painting