| Key word | Definition |
|---|---|
| Method | Something an artist DOES that you could do too. |
| The steal | One specific thing you take on purpose and can point to in your own work. |
| Organisation | A gallery, studio, venue or arts charity that shows, makes or commissions art. |
| Biography | Information about an artist that does not change your work. |
| Decision Matrix | The three-column sheet turning what an artist does into a decision in your piece. |
| Inspiration | Research that visibly alters what you make next. |
Enquiry: Which artist makes me want to make something — and what exactly am I taking from them?
Award part: Bronze Part C · Artist and Organisation
Diagnostic: ❌ Too vague — “I like it” with nothing named · ❌ Too copied — “I will make the same picture” · ✅ Right — one specific method named, and where it lands in YOUR work
Fix: Finish this sentence and nothing else: “I am taking their ______, and it will show up in my ______.”
1. Last lesson (Recall) Which surface from the bank will you use, and why?
2. Last week (Vocab) Texture and relief — say the difference.
3. Foundational (Recall) What does an arts ORGANISATION do?
4. Greater depth (Think) What is the difference between copying an artist and taking from one?
Two pupils researched the same artist. One wrote where they were born. The other changed how they were building layers. Which one is evidence?
Len Tabner ARTIST. Works outdoors in the weather, at scale, on the North East coast — the conditions get into the paint.
Mackenzie Thorpe ARTIST. Teesside figures and industry, heavy outline and simplified form — feeling before accuracy.
MIMA ORGANISATION. Middlesbrough Institute of Modern Art — shows contemporary work and runs programmes with local people.
A local maker ARTIST. Works to commission, to a brief and a deadline — the constraint shapes the outcome.
A community studio ORGANISATION. Shared workshop space — how artists without a gallery still make and show.
“The steal” METHOD. One specific thing you take on purpose and can point to afterwards in your own piece.
My artist is ____________. One thing they DO is ____________.
My organisation is ____________. It ____________.
I am taking their ____________, and it will show up in my ____________.
My organisation is ____________ and it reaches people by ____________.
I am taking ____________ because ____________.
I am NOT taking ____________ because ____________.
My organisation could show work like mine by ____________.
Artist card — who they are, one method:
Organisation card — name + what it does:
Matrix row 1 — what they do / my decision / where it shows:
Both cards complete □
Three matrix rows — where does each one LAND?
Both cards + three rows □
The rejection — what I am deliberately not taking, and why:
Organisation → audience:
1) What is the difference between a method and a fact?
2) Where will your steal show up in your work?
3) Why does Bronze ask for an organisation too?
Space → Voice → Audience → Influence. The adult’s first job is Space: regulate before you educate.
| Space | The source pack, the tablets and the quiet corner are all open routes — take whichever lets you read. |
| Voice | You choose your artist. Nobody is allocated one, and you may reject the obvious choice. |
| Audience | Your steal sentence goes on the wall, so the group can see what everyone is taking. |
| Influence | The artists chosen most often become the examples on the wall for the rest of the unit. |
Closing the loop: out loud, as a class, is enough here. Any inclusion counts — a nod, a word, a pointed finger. If a pupil wants theirs written down, an adult scribes it in their words. Pass is always allowed.
| Authorship — what I selected, made, directed or decided: | Exact support given — prepared / modelled / prompted / scribed: |
| WWW: | EBI: |
| Verified by / date: | |