Tour participants explore both traditional and nontraditional portraiture. Viewers begin to understand that a portrait need not be a likeness of a person in order to be an effective representation. This activity could be used in the Walker Art Center galleries, Minneapolis Sculpture Garden, or in the classroom with a selection of images from Art Collector. The artworks included in the activity are suggestions only and instructors may choose different artworks to accompany the discussion questions. This activity comes from the Living in Our Time section of the Tour Guide Tool Kit.

Living in Our Time Activity Title: Introduction to Portraiture Theme: Who Am I? Age: Grades K–Adult Overview: Tour participants explore both traditional and nontraditional portraiture. Viewers begin to understand that a portrait need not be a likeness of a person in order to be an effective representation. This activity could be used in the Walker Art Center galleries, Minneapolis Sculpture Garden, or in the classroom with a selection of images from Art Collector. The artworks included in the activity are suggestions only and instructors may choose different artworks to accompany the discussion questions. Procedure: Setting the Scene Option 1: Have you ever had a portrait made of yourself? (You might show a school picture as an example.) What kinds of things do you want people to know about you when they look at your school picture? Have you ever made a portrait? Of whom? Did you try to make it look as much like the person as possible? What materials did you use? What other materials can artists use to make portraits? Are there any other ways to make portraits? Can objects represent a person? What object would you choose to represent yourself? Why? Have you ever made a nontraditional self-portrait? What did you use? What did you include? Option 2: Show an example of a very traditional portrait. Why do you think an artist might have painted a portrait in the past? Why might an artist paint a portrait today? What is the artist telling us about this person? Do you think the person being portrayed had an opinion about how he or she would look? What did the subject want to tell us about him- or herself? Have you seen other portraits like this? Where? What is traditional about this portrait? What is nontraditional? (Keep track of some of the ways that participants defined a traditional portrait.) Today we’re going to look at some artworks that could be called portraits, but they might be different from what you would expect to see. During this tour I’d like you to think about the many different ways that artists can make portraits. Begin Looking On the tour, focus on works that might be considered portraits, both traditional and nontraditional. Discuss each work, emphasizing how the piece meets the definition of a portrait.. Ask Questions about a single portrait: Is there anything traditional about this portrait, based on what we discussed earlier? If so, what? Is there anything nontraditional? If so, what? Have you ever seen any other portraits that were sculptures, paintings, or photographs? Where? How is this one different? How do you think this (sculpture, painting, photograph) looks different from the way the person really looked? What do you think this person’s personality was like? How can you tell from the artwork? Are there any clues that might tell us how this work was made? What are some possible reasons that the artist made this portrait? When comparing two portraits: What are some things about these portraits that are the same? What are some things that are different? Which one do you think looks more like the real person? Which one tells you more about the person represented? What do you see that makes you say that? Conclusion Which work of art matched your idea of a traditional portrait? Which surprised you the most? Why? Which portrait do you think told you the most about the person? If you were going to make a self-portrait or a portrait of someone else, what materials would you use? Do you have different ideas about portraits now than you did before the tour? How? Which artist would you want to create your portrait? Why? Props: Example(s) of traditional portraiture for comparison Tips: Try to incorporate a variety of portraits on the tour. Suggested works: Alberto Giacometti Buste de Diego (Bust of Diego) circa 1954 Andy Warhol 16 Jackies 1964 Rineke Dijkstra The Buzz Club, Liverpool, England/Mysteryworld, Zaandam, Netherlands 1996–1997 Gabriel Orozco Piedra que cede (Yielding Stone) 1992 Joseph Beuys Schlitten (Sled) 1969

Participants learn about the influence of Marcel Duchamp’s ideas on the work of contemporary artists. This activity could be used in the Walker Art Center galleries, Minneapolis Sculpture Garden, or in the classroom with a selection of images from Art Collector. The artworks included in the activity are suggestions only and instructors may choose different artworks to accompany the discussion questions. This activity comes from the Popular Culture/Visual Culture section of the Tour Guide Tool Kit.

Popular Culture/Visual Culture Activity Title: The Legacy of Duchamp Theme: Sources and Resources Age: Grades 9–Adult Overview: Participants learn about the influence of Marcel Duchamp’s ideas on the work of contemporary artists. This activity could be used in the Walker Art Center galleries, Minneapolis Sculpture Garden, or in the classroom with a selection of images from Art Collector. The artworks included in the activity are suggestions only and instructors may choose different artworks to accompany the discussion questions. Procedure: Setting the Scene Provide participants with a brief description of Marcel Duchamp and some of his main ideas. What was it about Duchamp’s work that so influences and still gains the respect of many contemporary artists? Begin Looking Using the following statements as an introduction, the tour will look at works that have been influenced by Duchamp. Joseph Beuys said: “Duchamp the artist was a good starting point.” Robert Rauschenberg said: “I find [Marcel Duchamp’s] life and work a constant inspiration…. His Bicycle Wheel has always struck me as one of the most beautiful pieces of sculpture I’ve ever seen.” On the tour, show works by contemporary artists who directly refer to Duchamp in their work or whose work is influenced by Duchamp. When discussing each artwork, explain how it connects to Duchamp’s work and ideas. Address how Duchamp’s idea about the “readymade” has influenced artists of today. Ask What aspects of Duchamp’s work or ideas did each artist incorporate into his or her own work? Why do you think so many artists look to Duchamp as an influence? Do you think Duchamp’s ideas are still relevant and original today? Why or why not?     Conclusion Although Marcel Duchamp was active as an artist almost 100 years ago, his influence can still be seen in work by present-day artists. Among Duchamp’s ideas that we discussed, or works of art we looked at, which do you think is the most radical? Why? Of the artworks that we viewed, which one do you think seems to have been most closely influenced by Duchamp? Since we began this tour, has your opinion about either the work and ideas of Marcel Duchamp or the work of contemporary artists changed at all? How? Do you think Duchamp’s readymades should be considered art?  Why or why not? Props: Laminated photos of the following artworks by Marcel Duchamp: •    The Bride Stripped Bare by Her Bachelors, Even 1915–1923 •    Bicycle Wheel 1913 •    Bottle Rack 1914 •    Fountain 1917 Tips: This tour would work well with the following works of art: Robert Rauschenberg Trophy II (for Teeny and Marcel Duchamp) 1960 Nam June Paik TV Cello 1971 Sherrie Levine Fountain (after Marcel Duchamp: A.P.) 1991 Joseph Beuys Schlitten (Sled) 1969 Marcel Duchamp Boîte-en-Valise 1941/1966 Fluxus Cabinet Daniel Spoerri 31 Variations on a Meal: Eaten by Bruce Conner 1964 Works by Claes Oldenburg Works by Andy Warhol Works by Jasper Johns