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KS2 Art and Design learning resources for adults, children, parents and teachers.

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With thanks to Jan @Holy Trinity and St Silas

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Best 12 Diverse Artists to Teach in your Art Classroom

Like many art teachers, growing up, art class was always my favorite part about school. I loved creating art, but I also loved looking at art. I remember being fascinated by Van Gogh and Degas. I thought Jackson Pollock's splatter paintings were the coolest and I loved the bright colors in Andy Warhol's prints.

I learned a lot of things looking at art in art class: different artistic styles, new mediums I hadn't heard of, fascinating stories behind each work of art. But I also learned something that I didn't fully realize until I was older: that professional artists didn't look anything like me. As a young latina student, I learned from an early age that "real artists" were almost always white men. Of course, my art teachers never explicitly said this; but by leaving diverse artists out of our curriculum, I didn't think that someone like me could be a "real artist."

By choosing to include artists of different races, genders, and ethnicities in our curriculum, we show our students that artists can look like anyone. We give our Black, Hispanic, Asian and indigenous students an opportunity to see themselves as artists and tell them that everyone can be an artist. By including diverse artists in our curriculum we not only provide diverse role models for our students, but we also enrich our curriculum with artists working in a variety of methods, mediums, and styles.

Don't know where to begin diversifying your curriculum? Check out these twelve diverse artists to teach in your art classroom:

1. Kehinde Wiley

Kehinde Wiley is a Black painter who was born in Los Angeles, California. His father is from Nigeria and his mother is African American. He is most well-known for his portraits of Black people against colorful and patterned backgrounds. In 2017, he was commissioned to paint a portrait of Barack Obama for the National Portrait Gallery in Washington D.C. Wiley is inspired by European Old Master portraiture, and has the subjects of his paintings pose in similar poses to Old Master style portraiture.

Wiley combines this style of portraiture with inspiration from French Rococo design, African Textiles, Islamic Architecture and Urban Hip-Hop. Wiley's fresh take on an old style of portraiture is meant to include Black people in the narrative, who were left out of traditional European paintings. Many of Wiley's portraits are of people Wiley met while walking around his neighborhood in New York and Los Angeles. He would ask the subjects of his paintings to assume the poses in Old Master portraits and paint them in these poses while wearing their street clothes.

Many of the poses Wiley chooses exude power and are reminiscent of portraits of European royalty. In doing so, Wiley makes a statement by placing the Black members of his neighborhood in a position of power. Click for the FREE art lesson plan. Find out more about Kehinde at: kehindewiley.com

2. Alma Woodsey Thomas

3. Tyeb Mehta

Tyeb Mehta was an Indian painter, sculptor and filmmaker who was inspired by cubist and expressionist styles of modern art. Mehta was born in Gujart, India, but spent time living in London, New York City, and Mumbai during his life. Mehta is one of the most well known Indian painters and is best known for his use of vibrant colors and shapes. Mehta grew up in a Shiite community in India during a time where violent attacks against Muslims were common. His experience witnessing violence throughout his life has informed the subject of a lot of his work.

4. Tyree Guyton

Tyree Guyton is a Black artist from Detroit, Michigan. After seeing the street he grew up on, Heidelberg Street on Detroit's east side, fall to disrepair and be neglected by the city, Guyton decided to use art to rejuvenate his street. At first, Guyton started by painting a few houses on the street with bright, multi-colored polka dots. Over time, the project grew and as Guyton added more art to his street, his community started to take pride in where they lived and even welcomed visitors from near and far to view the artwork on their street.

Guyton worked on the Heidelberg Project with children and neighbors from his street, working together to beautify their community with art. Since the start of the project, Guyton's Heidelberg project has added an indoor/outdoor museum, artist's colony, creative arts center, community garden and amphitheater to the neighborhood. Guyton's Heidelberg Project is recognized around the world as a demonstration of the power of art to create hope and transform communities. Find out more at:
https://www.heidelberg.org

5. Takashi Murakami

Takashi Murakami is a contemporary artist from Japan whose designs can be found on fashion and merchandise all over the world. Murakami was born in Tokyo, Japan, and from a young age he was fascinated by anime which later influenced his artistic work and style. He originally studied to be an animator but eventually transitioned to painting and sculpture.

6. Angel Otero

7. Jessi Raulet

8. Yayoi Kusama

Yayoi Kusama is a contemporary Japanese artist who is most well known for her colorful and playful sculptural installations. She is also a painter, filmmaker, poet and performance artist. Her style is influenced by the abstract impressionism and pop-art styles. She is widely recognized for her vibrant polka dot designs which she brings to life in installations called "Infinity Rooms." When she was younger, Kusama claimed to have hallucinations and visions, often of polka dots. These hallucinations have influenced the patterns visible in her art work. Kusama has lived in New York and Japan and has had sculptural installations all over the world. Her "Infinity Room" installations have attracted hundreds of thousands of visitors. Find out more at: http://yayoi-kusama.jp/e/information/

9. Marcus Cadman

Marcus Cadman is a Native American painter and mixed media artist of Navajo and Kickapoo heritage. Cadman grew up on a Navajo reservation in New Mexico and was introduced to art at a very early age. His father, who was also an artist, taught him to draw while growing up and Cadman knew he wanted to be an artist by the time he was in high school.

10. El Anatsui

11. Victoria Villasana

12. Helen Zughaib

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Best 12 Diverse Artists to Teach in your Art Classroom - Display My Art

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Like many art teachers, growing up, art class was always my favorite part about school. I loved creating art, but I also loved looking at art. I remember being fascinated by Van Gogh and Degas. I thought Jackson Pollock's splatter paintings were the coolest and I loved the bright colors in Andy Warhol's prints.

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Talking Points for the AccessArt Primary Art Curriculum

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The resources below aim to encourage pupils and teachers to explore and talk about different aspects of the visual arts. They can be used alone as standalone activities (for example you might use them as class or sketchbook activities), or you might use them in conjunction with our new Primary Art Curriculum.

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Children in Key Stage 1 use sketchbooks in their classrooms during art lessons. When children visit the art room, Mrs Barrett often gives demonstrations and sets tasks to help develop the skill of working within a sketchbook.

Below are some examples of sketchbook activities from each year group.

Year 1

A simple independent, sorting exercise used with Year 1 children helps to develop their understanding of warm/cold colours and colour mixing. First the children sort images, using a colour wheel as a guide, and then add their own warm and cold colours using watercolours and powder paint. This activity allows children to use their sketchbooks in an exploratory way.

Independent tasks are a good opportunity to ask questions, such as:

Which paint did you prefer to mix with? Can you explain why?

Why have you chosen to place your colour on that page?

The page can then be referred to later in the year when using paint to create future work.

Year 2

The tables in the art room were covered with examples of work by artist Andy Goldsworthy, along with facts and information about his life and work. The children were asked to use the given information to record what they had learnt about the artist using a range of art media. All the responses were individual and creative. It was lovely to see children helping each other to read the facts and comment on each others' sketchbook pages.

Year 3

Throughout Year 3 we work hard to train children in the use of sketchbooks as this is the first year they have significant time in our art room. The key areas we consider when using sketchbooks are:

Gathering inspiration

Exploring art media

Developing understanding

Recording responses

Reviewing artwork

Making modifications

Evaluating

Here are some of the Year 3 activities:

After a trip to the Yorkshire Sculpture Park, the children spent time documenting their visit in their sketchbooks and learning about significant sculptors. They were asked to state their personal opinions regarding the artwork and then used these pages to create a non-fiction booklet about a chosen sculptor. The children were encouraged to present their work in an independent, creative way.

Post-it notes are a great way to add any relevant feedback, from either the teacher or peers, without it being written directly onto the pages or artwork.

We found teasel seed heads in the school grounds and used them in an observational drawing exercise. Children explored different media and were encouraged to write down any thoughts or feelings they had about the drawing process. We then dipped the teasel heads into ink and experimented with mark making. 'Two stars and a Wish' was then used as part of a simple self assessment. This can also be used to give constructive feedback between peers.

Before deciding what to include in their clay fossil, children used their sketchbooks to draw different fossilised plants and creatures. In sessions like this, children are able to self access a range of art media, often commenting on the different outcomes. They are left to explore without teacher intervention. Children seek help, advice and guidance if they choose to - otherwise they are left to explore and create.

Children explored watercolour techniques and used masking tape to create a straight edge to a painting. After spending time exploring in their sketchbooks, children were then confident to begin a watercolour painting on a larger scale.

After a history trip to Saltaire, we created sketchbook pages to document the visit. Our children enjoy the freedom to create sketchbook pages in this way. It inspires individual responses rather than 30 pieces of work that look exactly the same. The children then use these pages to develop a piece of artwork of their choice. It might be...

A woven piece

A clay house

A painting

A map

Choice is an important thing to children; it's a way of being able to express themselves. Whether they are choosing to create something that is the same, similar or completely different to their peers - it's important to allow children to make significant, independent, creative choices throughout their artistic journey. Sketchbooks are a great way to facilitate this.

Year 4

Children were researching, developing and designing - all linked to a class science project. They learnt about electricity - we considered the impact of pylons on the environment and formulated a project where the children designed their own. The sketchbook pages were busy with designs and annotations which were then used to inform model making.

Year 5

When working on a portrait project, children used their sketchbooks for a variety of activities. We continually learn and develop our skills of mark making using quick activities. These allow children time to discover new ways to create, consolidate existing skills or to simply explore different art media.

During our sessions in the art room, we spend time developing creative writing skills . We often use our own artwork, as well as other paintings, as inspiration for writing. Sketchbooks are a great way of documenting the creative writing process - from brainstorms, to ideas for initial paragraphs, to first drafts and creative edits. Children have said they feel more relaxed developing their writing this way as they can fully concentrate on their creative ideas.

Year 5 also use their sketchbooks to explore science topics in a creative way - such as investigating the similarities and differences between animals and humans. After using photographs to create small collages, children used tracing paper to create mixed-up portraits. They then moved on to independent drawing where the children produced a final piece. Sketchbooks are always on hand to test out ideas while working on final pieces.

Year 5 use sketchbooks to evaluate their creative learning journey and the subsequent artwork they have produced. They often share this critical dialogue with peers and are then capable of making informed decisions about the future development of their work. Work is never rubbed out or thrown away; instead children review their practice through annotations and visual corrections - an instant way of showing and documenting any progress they have made.

Year 6

By the time children reach Year 6, they are very comfortable in using their sketchbooks for a variety of purposes. Children are heavily independent and take charge of their own learning using their sketchbook as a vehicle to document their creative journey.

Our Year 6 children are confident to research ideas, gain inspiration and try out different techniques. For example, they researched the work of David Hockney prior to creating a large piece of work in his style. They also refined colour-mixing techniques and used paintings to inspire creative writing.

Sketchbooks are a great way to record any progress that is being made within a lesson or a project. We never use rubbers to erase work; instead, we make a series of attempts to document our learning journey.

Teacher example pages:

I sometimes sit with the children and complete the same task in my own sketchbook or create example pages prior to the lesson. This gives a model for less confident children and can extend the more able artists - they see the challenge and rise to it within their own book. I was worried at first that this might be daunting for some children, but they seem to enjoy using the examples as inspiration.

With thanks to Mandy Barrett and the children from Gomersal Primary School for this wonderful blog post.

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The use of sketchbooks at Gomersal Primary School

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Since the introduction of the use of sketchbooks in the KS2 National Curriculum, we have incorporated them into our creative curriculum at Gomersal Primary School.

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with thanks to Karen @ Kentish Town

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Austin's Butterfly: Models, Critique, and Descriptive Feedback

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Led by Gallery Educators, these online sessions bring paintings to life through storytelling for younger years and interactive talks for older children.

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Design for Deer Hunting Mural in the Cabaret Theatre Club, 1912, oil & chalk on paper by Spencer Gore (1878-1914), photo credit: Yale Center for British Art

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Schools and Colleges - National Portrait Gallery

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Welcome to the National Portrait Gallery’s programmes for schools

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Click on painting for more info!

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With thanks to Kat and Kudzanayi

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We are the National Society for  Education in Art and Design | NSEAD

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We are the National Society for Education in Art and Design | NSEAD

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Why join? Member benefits Healthcare HMCA discounts benefits For Individuals For Students and ECTs For Educational Institutions NSEAD Member Assistance Programme Member Portal Join Us

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October Gallery will present TimeSpace, a solo exhibition of works by El Anatsui commencing during Frieze Week. Over a dazzling career spanning more than five decades, El Anatsui has become one of the most acclaimed contemporary artists of our time. His sculptures employing an extraordinary range of media and many uncommon materials have investigated a broad array of different subjects. As the new century dawned, his early explorations in clay and tropical hardwoods gradually gave way to inventive, new strategies designed to repurpose various found materials: iron graters, milk-tin lids and - most famously - aluminium bottle-tops. Today, El Anatsui is best known for his mesmerising metallic installations, composed of tens - if not hundreds - of thousands of individual bottle-tops fastened together with copper wire. Over the past two decades, these shape-shifting sculptural forms have graced the inner and, more recently, the outer walls of an increasing number of major art institutions around the world.

The exhibition at October Gallery will be an intimate show of new works alongside examples of earlier works that give insight, add context and help explain the development of this hugely influential artist.TimeSpace combines new bottle-top wall sculptures together with several earlier works engaging with other materials and different processes.

This exhibition of predominately contemporary works explores the artist's innovative and experimental approach to tools, processes and materials. Taking a long-perspective view of his extraordinary career, TimeSpace examines the way El Anatsui has, for decades, developed surprising and novel directions that have brought about an unexpected synthesis between African and Western practices. In so doing he has reshaped and profoundly affected the direction of contemporary sculpture, as acknowledged by the Golden Lion awarded to him in 2015 for his lifetime of achievement in the arts. El Anatsui's sophisticated and deftly organised sculptures represent an original and unique synthesis of the diverse histories of African art with selected influences appropriated from the paradigms of contemporary Western practice.

El Anatsui is this year's artist for the Hyundai Commission at Tate Modern's Turbine Hall, which will open to the public 10th October.

HYUNDAI COMMISSION. EL ANATSUI: BEHIND THE RED MOON FOR TATE MODERN'S TURBINE HALL.

Congratulations to El Anatsui! We are delighted that Tate Modern unveils a monumental sculptural installation created by the internationally acclaimed Ghanaian artist.

The Hyundai Commission: El Anatsui: Behind the Red Moon is staged in three acts which visitors are invited to move between. The first hanging, titled The Red Moon, resembles the majestic sail of a ship billowing out in the wind, announcing the beginning of a journey across the Atlantic Ocean. Red liquor bottle-tops form the outline of a red moon, or 'blood moon', as it appears during a lunar eclipse.

The second sculpture, , is composed of many individual layers that evoke human figures suspended in a restless state. The ethereal appearance of these figures is achieved using thin bottle-top seals wired together to create a net-like material. When viewed from a particular vantage point, these scattered shapes come together into a single circular form of the Earth.

In Anatsui's final hanging,The Wall, a monumental black sheet of metal cloth stretches from floor to ceiling. At its base, pools of bottle tops rise from the ground in the form of crashing waves and rocky peaks. Behind its black surface, a delicate structure of shimmering silver is revealed, covered in a mosaic of multi-coloured pieces. This combination of lines and waves, blackness and technicolour, echoes the collision of global cultures and hybrid identities that Anatsui invites us to consider throughout his work.

Photo © Tate (Joe Humphrys)

October Gallery at 1-54 London
Booth W1

For the eleventh edition of 1-54 London, October Gallery presents new works by Zana Masombuka, Alexis Peskine, LR Vandy, paintings by Eddy Kamuanga Ilunga and Owusu-Ankomah and sculptures by Romuald Hazoumè.

ZANA MASOMBUKA at Gallery OCA

Three works by Zana Masombuka will be featured in the group exhibition, COZY - Comfortable in My Skin with Gallery OCA (Of Caribbean Art).

Taking place at Cromwell Place, the exhibition invites you to step into a world of hybrid identities, where power and vulnerability reverberate in conversation and brings together the unique voices of some of Africa, the Caribbean and the diaspora's boldest voices, presenting a multifaceted perspective on womanhood, shaped by the artists' defining journeys towards self-actualisation.

ROMUALD HAZOUMÈ's work featured in new
exhibition at the Sainsbury Centre
The Stuff of Life | The Life of Stuff

October Gallery are thrilled that works by Romuald Hazoumè feature in The Stuff of Life | The Life of Stuff, a new, major international exhibition which opened on 10th September, 2023 at the Sainsbury Centre, Norwich, UK.

Visitors can view artworks composed of salvaged materials, re-synthesised fragments, and e-waste. They will encounter new environmental zones, where synthetic and organic matter interact, providing a fertile ground for the invention of mythical worlds, dystopias and speculative future narratives.

A major bottle-top work by El Anatsui also is featured in this exhibition, which includes works by Madi Acharya-Baskerville; Mandy Barker; Karla Black; Maarten Vanden Eynde; Ayan Farah; Daiga Grantina; Diana Lelonek; Ibrahim Mahama Mary Mattingly; Fabrice Monteiro; Marlie Mul; Samara Scott; Tejal Shah; Elias Sime; Michael E. Smith; Sarah Sze; Gavin Turk.

AUBREY WILLIAMS: COSMOLOGICAL ABSTRACTIONS, 1973-85 at TATE BRITAIN

Tate Britain has dedicated a room to the work of Aubrey Williams, a significant aspect in the institution's 2023 complete rehang of the world's greatest collection of British art for the first time in 10 years.

Titled Aubrey Williams: Cosmological Abstractions, 1973-85, the display consists of paintings created in the 1970s and the 1980s, and explores Williams' involvement with ecology, cosmology, music and pre-colonial civilisations.

Visitors can now discover the galleries laid out chronologically, from the 1500s to the present day, with the relationship between British art and the wider world being a major theme throughout. Each solo exhibition room, devoted to major historic figures such as William Blake and John Constable amongst others.

Photo: Tate (Madeleine Buddo)

SOKARI DOUGLAS CAMP CBE and ALEXIS PESKINE at The Fitzwilliam Museum

The Fitzwilliam Museum presents a landmark exhibition, Black Atlantic: Power, People, Resistance, which explores new stories from history and investigates which stories get remembered and why.

By bringing together collections from across the University of Cambridge's museums, libraries and colleges with loans from around the world, Black Atlantic: Power, People, Resistance asks new questions about Cambridge's role in the transatlantic slave trade and looks at how objects and artworks have influenced history and perspectives. Historical works are shown alongside modern and contemporary works by artists, including Sokari Douglas Camp CBE, Alexis Peskine, Barbara Walker and Donald Locke - each of them challenges and reflects on hidden and untold stories.

ROMUALD HAZOUMÈ: The Fâ Series

This exhibition presents a significant body of work by internationally renowned artist Romuald Hazoumè, based on his dedicated study of Fâ divination.

Romuald Hazoumè: The Fâ Series presents twenty-two works, primarily from the mid-1990s. The majority of these large-scale canvases draw from the visual lexicon associated with Fâ, evoking its sacred knowledge through symbols and signs. The show is organised by the Neuberger Museum of Art and curated by Christa Clarke, independent curator, art historian and Senior Advisor at the Center for Curatorial Leadership.

JAMES BARNOR: Accra/London
-A Retrospective

The Detroit Institute of Arts will present James Barnor: Accra/London-A Retrospective, a comprehensive survey of the work of British-Ghanaian photographer James Barnor, whose career spans more than six decades. A studio portraitist, photojournalist, and Black lifestyle photographer, Barnor established his famous Ever Young Studio in Accra in the early 1950s and devoted his early photography to documenting critical social and political changes that animated the nation on the cusp of independence from Britain.

Bloomsbury, London

October Gallery has been instrumental in bringing to worldwide attention many of the world's leading international artists, including El Anatsui, Rachid Koraïchi, Romuald Hazoumè, Nnenna Okore, Laila Shawa and Kenji Yoshida. The Gallery promotes the Transvangarde, the very best in contemporary art from around the planet, as well as maintaining a cultural hub in central London for poets, writers, intellectuals and artists, and hosts talks, performances and seminars, see www.octobergallery.co.uk/events

The rich diversity of art presented is an inspiration to collectors and enthusiasts. Institutions such as the British Museum, London; the Metropolitan Museum of Art, New York; Centre Pompidou, Paris; Museum Kunstpalast, Düsseldorf, Germany; Neue Galerie, Kassel, Germany; Setagagya Art Museum, Tokyo, Japan have all collected works from October Gallery.

Founded in 1979, October Gallery is a charitable trust which is supported by sales of art, rental of the Gallery's unique facilities, grants from various funding bodies and the active support of dedicated artists, musicians, writers and many friends from around the world. The Gallery's Education Department is inclusive of all ages from under 5's to PGCE student and delivers a wide range of provision, see www.octobergalleryeducation.com

October Gallery is open from 12:30 to 17:30 pm, Tuesday to Saturday.
The Gallery is closed during official holidays and the entire month of August.

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October Gallery will present TimeSpace, a solo exhibition of works by El Anatsui commencing during Frieze Week. Over a dazzling career spanning more than five decades, El Anatsui has become one of the most acclaimed contemporary artists of our time. His sculptures employing an extraordinary range of media and many uncommon materials have investigated a broad array of different subjects.

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The stories of 8 schools offering great arts education.

The RSA visited arts-rich schools across the country to learn more about the strategies they have used to maintain a strong arts offer.

For example:

Giving the arts high status within their school

Prioritising dedicated arts spaces

Developing a range of partnerships to facilitate curricular and extra-curricular offer

Maintaining curriculum breadth at secondary school

Prioritising specialist staff

Timetabling to put the arts at the centre of school life

Read inspiring examples and stories from school leaders, teachers and students in Arts-Rich Schools.

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The RSA visited arts-rich schools across the country to learn more about the strategies they have used to maintain a strong arts offer.

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The Doctor and Amy take Vincent Van Gogh - who struggled to sell a single painting in his own lifetime - to a Paris art Gallery in the year…

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St Michael’s CofE Primary School - Curriculum Art

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At St Michael’s School our curriculum reflects our school vision: Let Your Light Shine. We want all of our children to be excited and motivated throughout their time at our school, and to develop the skills and knowledge to enable them to make the best possible progress in their learning.

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https://www.octobergalleryeducation.com/resources

Hi Everyone this is a link to the October Gallery Educations online resources page.
Enjoy!
From Esther Adesigbin (Art lead at St Patricks School and October Gallery Education Programme Developer and Facilitator)

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Free Online Resources

Looking for inspiration?

We've worked with our team of amazing artist facilitators to put together inspiring resources for creative exploration. Each resource pack provides everything you, your class or your family need to explore a new artist and get creative.

​

This PDF offers an introduction to the work of October Gallery artist as well as inspiration, resources and activities created by artist facilitator Wang Huangsheng, Charlotte Cranidge.

Click the image above to download online resource.

This PDF offers an introduction to the work of October Gallery artist Nnenna Okore, as well as inspiration, resources and activities created by artist facilitator Ione Maria Rojas.

This PDF offers an introduction to the work of October Gallery artist James Barnor, as well as inspiration, resources and activities created by artist facilitator Marysa Dowling.

Click the image above to download online resource.

During lockdown we launched our 10 x 10 Project, inspired by the work of October Gallery artist El Anatsui and created by artist facilitator Esther Adesigbin.

​

NEW ONLINE WORKSHOPS - This resource tells you more about different newly adapted schools workshops we've created to continue engaging students in creativity through the pandemic.

Click the image to find out more.

This is a resource for Key Stage 2 and 3 on

Some fun and simple drawing activities for KS1

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Free Online Resources Looking for inspiration? We've worked with our team of amazing artist facilitators to put together inspiring resources for creative exploration. Each resource pack provides everything you, your class or your family need to explore a new artist and get creative.

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Assembly, Tate Modern 2017 photo © Tate (Seraphina Neville)​

School visits to Tate Modern are free. There is a charge for exhibitions.

All groups must book in advance, whether visiting independently or taking part in a Tate-led session. The maximum size of a visiting school group at Tate Modern is 120 students. Large groups should be split into smaller groups of up to 20 people when in the gallery.

Please let us know if you would like to book the schools lunch room and locker facilities (UK school groups only).

When you book a visit, please advise us of any specific access requirements that members of your group may have.

Touch Tours can be arranged in advance for any students in the group that are blind or visually impaired. Touch tours engage with the ideas, materials and techniques of the art on display.

These tours typically include a sculpture that can be explored through direct handling and a number of other two and three dimensional works that are explored using a combination of raised images, handling objects, description and discussion. We ask that school groups book these tours in advance when arranging their visit. For more information please email schoolsandteachers@tate.org.uk or call +44 (0)20 7887 8888 (option 3).

How to make a booking

To enquire, please fill out this Booking Enquiry Form and respond to all the questions. We'll get back to you with a booking confirmation.

Or contact us by phone, call + 44(0) 20 7887 8888 (option 3).

Please note: if you are planning a visit to the gallery within the next three weeks, please call our schools bookings team instead of emailing us.

Have the following ready when you call:

Range of dates for your visit

School address, telephone number and email address

Group size and age of pupils

Would you like to book the schools lunch room and lockers? (UK schools only)

Do I need to make a booking to bring a school group to Tate?

All groups with more than 10 students need to book in advance. If you are bringing a big group we request you split up into smaller groups of up to 15 when moving around the galleries.

Schools are welcome to bring up to a maximum of 120 children on a self-led visit per day. We are unable to accommodate groups larger than this as we have limited number of school group arrivals per day for Health & Safety reasons and wish to give as many schools as possible the chance to visit the galleries.

How much does it cost?

Self-led visits to the permanent collection at Tate Modern are free. For temporary exhibitions there is a charge, a special group rate is available.

How much are tickets for exhibitions?

For UK school groups we offer £5 tickets when you are bringing a minimum of 10 students and 1 teacher. There are 30 tickets available on the hour every hour from 10am to 4pm, Monday to Friday at the school group rate. Tickets must be paid for in full at least two weeks in advance of the date of the visit. Once sold tickets are non-refundable and non-exchangeable. However, whilst the tickets are on reserve, unpaid, we can amend the numbers or timing, subject to availability.

What activities do you have for students?

We have a number of 'activities', developed by artists, who have worked on the schools and teachers programme. We call them 'in-gallery resources'. You can find them below under 'Self-led student resources' and 'Teaching resources and courses'. These resources emulate the workshops and include the perspective of contemporary artists in the gallery. They aim to encourage new ways of looking at and learning with art.

My students are studying [insert topic], how do I find out if it is on display?

Check Tate's website, by searching for the artwork, artist or medium in Search. Alternatively, use our Artist A-Z or Art Terms. The information team can also help with any display queries 020 7887 8888 (Option 2).

Is there somewhere we can park?

Tate Modern has limited accessible onsite parking. This should be booked in advance and a registration number provided at least 24hrs before the visit.

I want to arrange a talk or tour for my students - how do I do this?

Private talks and tours are arranged by Tate Private Tours, even if you are a school group. Please contact them at tour.bookings@tate.org.uk or +44 (0) 20 7887 4946

Can we see the prints and drawings room?

Yes. Please email studyroom@tate.org.uk after booking a self-led visit with us. The maximum size of groups is 12 (less for younger students).

How long should we be there?

People usually spend anywhere between 1 hour to a whole day in the galleries.

Where are the bathrooms and are there changing facilities?

At Tate Modern there are bathrooms on each floor and a changing place on Level 0 in the boiler house building.

Is there a map?

Yes. Maps are available to download for Tate Modern or to pick up in the gallery.

GALLERY OFFER

Tate-led sessions

We run a programme of workshops, which you can book in advance of your visit, subject to availability:

Join our workshops encouraging students to engage with art, artists and ideas

Join our workshops for students from SEND settings and Pupil Referral Units

Visit an exhibition

A special school group price for exhibitions is available during weekdays if you book and pay at least two weeks in advance. For more information please email schoolsandteachers@tate.org.uk or call +44 (0)20 7887 8888 (option 3).

Self-led sessions

Artist devised resources will be provided to your school group at the sign in desk (Clore Centre at Tate Britain and Clore Welcome Room at Tate Modern).

We have a wide range of free learning resources to support students and teachers to engage with art and ideas. These include activities for pupils to do in the gallery, as well as resources to extend your engagement in the classroom before and after your visit.

We can support your visit by helping you to select and book self-led student activities by emailing resource.coordinator@tate.org.uk. Alternatively you can download them from the links found below.

We encourage young people to explore art and idea to take ownership of the gallery.

Plan your Visit

There is a lot to see from the extensive permanent collection to exhibitions.

Find out what's on in our free displays and temporary exhibitions.

Find out what artworks are currently on display at Tate Modern.

Alternatively, use our Artist A-Z or Art Terms.

You can also search for a specific the artwork, artist or art term in the Search.

Otherwise contact Information on 020 7887 8888 (Option 2).

Questions to discuss before your visit

What does art mean to you?

What was the last thing you made or created?

What does art make you think?

What does art make you feel?

Questions to get you exploring when you get here

If you could take one piece of artwork home with you, what would you take?

What do you think art does in the world?

Why should art be taught in school?

If you imagined a gallery in the future, what do you think it would look like? What would be in it? Who would be in it?

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School visits to Tate Modern are free. There is a charge for exhibitions. All groups must book in advance, whether visiting independently or taking part in a Tate-led session. The maximum size of a visiting school group at Tate Modern is 120 students.

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We are delighted to announce that 10 years of asking school pupils the question "If you were an engineer, what would you do?" we are releasing a book with a selection of entries from the last decade.

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Primary Engineer: Engineering in the classroom

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Primary Engineer bringing engineering into the classroom inspiring children, pupils, teachers, parents and engineers since 2005.

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Ceramics. Tile panels, sculptural forms. Exploration of working collaboratively with clay - workshops tailored to age groups and national curriculum.
Mosaic. Explore all types of mosaics, to produce an individual or group piece.

Education / Qualifications

1967 - Stockport College of Advanced Technology
1970 - Dip AD (BA) Ceramics & 3D Design, 2:1 Cardiff
1971 - Art Teachers Certificate. Post-Grad, Goldsmiths
1988 - Architecture & Landscape Design
1994 - Teacher Training

Pontardawe Arts Centre
Denbigh Art Gallery & Museum
Gateway Arts Centre, Shrewsbury
Oriel Coliseum, Aberystwyth
Chapel of Art, Criccieth

1971-1992 Extensive experience in sculpture/mosaics/ pottery/ceramics
1992 - Sculpture commission, Sully Hospital & Stackpole Center
1993 - Artists in Residence Dyfed & Llanelli Festival
1993 - Ceramic Mural commission, Glos. City Council
1994 - Commission for Llanelli Library, tile panel
1994/5 - Residency & Sculpture Commission, Wrexham
1995 - Mosaic/Ceramic mural for MIND, Carmarthen
1996 - Ceramics Residency, mural commission
1997 - Ceramics residency1998 - Sculpture residency, commission for mosaic floor, artist in residence Cymer Afan Comp. School
1999 - Artist in Residence, Buckley Heritage Trail
2000 - Artist in Residence, 7 miles artworks
2001 - Ceramic/mosaic panels, Glangwili Hospital, Mosaics for Childrens society, Hendre Foilan Primary School, and Park Church Llanelli

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Ceramics. Tile panels, sculptural forms. Exploration of working collaboratively with clay - workshops tailored to age groups and national curriculum. Mosaic. Explore all types of mosaics, to produce an individual or group piece. Education / Qualifications 1967 - Stockport College of Advanced Technology 1970 - Dip AD (BA) Ceramics & 3D Design, 2:1 Cardiff 1971 - Art Teachers Certificate.