Sculpture Park Discovery Education Resource

HEIDE EDUCATION
Heide Sculpture Park
Discovering art in outdoor spaces
Anish Kapoor
In The Presence of Form II 1993 (Foreground)
carved Portland stone
174 x 170 x 110 cm
Untitled 1993 (Front)
carved limestone and pigment
52 x 90 x 70 cm
Heide Museum of Modern Art
Inge King
Rings of Saturn 2005-2006 (Background)
stainless steel
450 x 450 x 450 cm
Heide Museum of Modern Art
This Education Resource has been produced by Heide Museum of Modern Art to
provide information to support education institution visits to Heide Museum of
Modern Art and as such is intended for their use only. Reproduction and
communication is permitted for educational purposes only. No part of this
education resource may be stored in a retrieval system, communicated or
transmitted in any form or by any means.
© Heide 2011
For personal use only – do not store, copy or distribute
Page 1 of 21
HEIDE EDUCATION
Sculptures in the Park
Dennis Oppenheim (1953–2011)
Basket and Wave (From Dreams
and Nightmares. Journey of a
Broken Weave) 1984
Materials:
_________________________
488 x 549 x 792 cm
Heide Museum of Modern Art
Gift of the artist and Diana Gibson
1985
Current location: Connie Kimberley
Sculpture Park
At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park
was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer.
Displaying sculptures throughout the park would take full advantage of the Museum's unique
location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981
"The landscape is an integral part of Heide and most important in its ethos. It provides the
opportunity and responsibility to develop a gallery in a setting, the like of which is rare anywhere in
the world'.
Inspiration was taken from international sculpture parks visited by Palmer during the early 1980s
including the Kröller-Müller Museum in Otterlo, the Netherlands; Louisiana Museum in Humlebæk,
Denmark; Storm King in the state of New York, USA; and the gardens of the Maeght Foundation in
Saint-Paul-de-Vence, France. In 1981, two outdoor works placed within the grounds by John and
Sunday Reed remained: Ron Upton's Three Forms (1964) and David Tolley's Man/Woman (c.1966)
and these provided a starting point for the development of the sculpture park which today has over
thirty pieces.
The main focus for outdoor sculpture was on Australian art but with the selective inclusion of
significant works by international artists. In 1985 Palmer commissioned renowned American artist
Dennis Oppenheim to make a large work for the park called Basket and Wave (from Dreams and
Nightmares. Journey of a Broken Weave) (1984). A site was carefully chosen for the work, midst a
clearing surrounded by tall trees.
Sue Cramer
Heide Curator
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Page 2 of 21
HEIDE EDUCATION
Fiona Hall A Native Rockery Garden 2009
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Fiona Hall (1953—)
A Native Rockery Garden 2009
Materials:
_________________________
variable dimensions
Heide Museum of Modern Art
Current location: Tony and Cathie
Hancy Sculpture Plaza
Circle the words that best describe this sculpture:
smooth
even
hollow
irregular
dull
pointy
abstract
rough
realistic
hard
round
grainy
hairy
abrasive
itchy
List some other
words:
____________
____________
polished
energetic
slick
lifeless
natural
colourful
bright
grimy
organic
solid
____________
____________
How has and will weather and the passage of time changed A native rockery garden’s appearance?
Does it made the sculpture more interesting or not? How might it look in 20 years from now?
This sculpture requires different care to other sculptures at Heide. How do you imagine that Heide
takes care of and maintains this artwork? Does this alter our understanding of what can be called
art? Do you think this artwork could be moved to another site? How?
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Page 3 of 21
HEIDE EDUCATION
In this artwork Fiona Hall acknowledges John and Sunday Reed’s commitment from the early 1960s
to plant only native species on the property. Hall researched the Reeds’ library and considered their
interests in the work of influential historical gardeners such as Edna Walling, and international
figures Eleanour Sinclair Rohde, Vita Sackville-West and Gertrude Jekyll.
These are some of the plants Fiona Hall has used in this garden; Banksia blechnifolia, Eremophila
glabra 'Kalbarri Carpet', Grevillea linearifolia weeping, Lasiopetalum indutum, Casuarina glauca
prostrate, Eucalyptus caesia (Silver Princess), Leucophyta brownii (Cape le Grande), Lomandra glauca
(Aussie Blue Grass), Xanthorrhoea johnsonii, Leucophyta brownie, Themeda triandra 'Mingo'
(Kangaroo Grass), Actinotus helianthi (Flannel Flower), Geleznowia verrucosa and Swainsona
formosa (Sturt's Desert Pea), Anigozanthos 'Bush Diamond' and Anigozanthos 'Bush Fury' (varieties
of Kangaroo Paw)
Sketch two views to create a map for a garden sculpture in the spaces below.
What sorts of plants would you use? Do they hold special significance to you or other people? What
textures and colours would you look for? If you don’t know the names of plants, how could you find
them out?
In addition to the sculptural objects and installations for which she is acclaimed, Fiona Hall has made
some temporary and permanent gardens which reflect her interest in botany and its evolutionary,
social and political histories. Environmental fragilities and our increasingly fractured relationship
with the natural world are concerns which underpin much of her work.
Fiona Hall’s garden is the second artist’s garden commissioned by Heide, the first being the now well
established Karakarook’s Garden (2005-06) by Lauren Berkowitz which is located near the Oak tree
at the back of Heide I.
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Page 4 of 21
HEIDE EDUCATION
Neil Taylor Theoretical Matter 1999-2000
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Neil Taylor (1945—)
Theoretical Matter 1999-2000
Materials:
_________________________
304 x 390 x 320 cm
Heide Museum of Modern Art
Mapping and Reflection: A Garden
Transformed, initiated through Arts
Victoria's Victoria Commissions
Program, funded by the Community
Support Fund of the Victorian
Government
Current location: Connie Kimberley
Sculpture Park
This sculpture was constructed by one person with the help of an engineering firm who bent the
steel. Describe the materials and techniques used to construct this work. Where else have you seen
these materials used?
Can you see a natural form in the surrounding environment that resembles this sculpture? What is
it? What are the similarities? What are the differences?
How has weather and the passage of time changed its appearance? Has it made the sculpture more
interesting or not?
© Heide 2011
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HEIDE EDUCATION
Do you think the care and preservation of this sculpture is an issue for Museum staff or for visitors?
Why or why not? What is the job title of the person who looks after art works in a museum?
If you were given a total budget of $1,000 per year to maintain this sculpture, decide which of the
following services you would purchase for next year. Provide reasons for your choice.
SERVICE
RECOMMENDED
COST
Surface clean
Every 6 months
$200
Trim surrounding
Every 3 months
hedges
Coat with
Once per year
rustproof sealer
Remove wooden
Every 4 months
debris
Total costs to maintain this sculpture
over a year:
YES/NO
REASON
$100
$1,000
$200
$_____
As a student Neil Taylor was interested in American Abstract Expressionist painting and started
working with grids and colour patches. Taylor became increasingly frustrated with paint as a medium
– ‘it yields so readily’. He wanted to use his ‘full strength, rather than just a wrist action with
painting’, so switched to sculpture. He likes the ‘toughness’ of the materials he uses – ‘I struggle with
them – it's like the mind, lively, engaging, suggestive, evocative every minute’.
This is one of two works commissioned under the title ‘Mapping and Reflection: a Garden
Transformed’, the other work being Stein Path by Janet Burchill. Stein Path is the same length as the
holly hedge and runs along its southern side. The hedge was planted by John Reed, Sunday Reed and
Sidney Nolan in 1946 to protect the bird life from Sunday Reed’s cats. The location of Theoretical
Matter, close to the northern side of the hedge, led the artist to refer to it as an ‘industrial holly
hedge’. The two works can be thought of as mapping and reflecting the hedge.
Theoretical matter was constructed in a warehouse, which was a ‘big, grimy industrial space’, and
according to the artist, ‘it felt right there’. But when the sculpture was moved to Heide's garden
setting, Taylor was surprised by how its ‘rhythms’ and ‘perforated quality worked comfortably with
the surrounding foliage’.
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HEIDE EDUCATION
Rick Amor Running Man 1996-2005
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Rick Amor (1948—)
Running Man 1996-2005
Materials:
__________________________
180 x 175 x 65 cm
Current location: Connie Kimberley
Sculpture Park
Heide Museum of Modern Art
Purchased with funds donated by
an anonymous donor and Christine
Collingwood 1995
Current location: Connie Kimberley
Sculpture Park
Make the pose that the figure is in, with your own body. Describe how it feels to stand like this. Do
you this these feelings are expressed in the final artwork? How is texture and material related to this
emotional state?
The running figure is a signature motif in Amor’s work. It was originally painted in 1983-84 and has
subsequently been reworked many times in paintings, woodcut prints, small maquettes and larger
cast figures. Looking at the location of this figure, what do you think Running Man is running to or
away from?
The technique used by Rick Amor to create this sculpture is called the ‘lost wax’ method, which is
outlined below:
i.
Sculpture is made from plaster (clay or wax can also be used).
ii.
Plaster mould, inlaid with latex, is created in sections from the sculpture.
iii.
Plaster mould is assembled; wax poured into mould creating a wax layer a few centimetres
thick; plaster mould is removed to reveal a perfect copy of the original sculpture in wax.
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Page 7 of 21
HEIDE EDUCATION
iv.
Hollow wax sculpture is coated in liquid ceramic slurry; when dry, this becomes a ceramic
mould, impenetrable by heat.
Molten bronze is poured into the ceramic mould replacing and burning out the wax.
When cooled, the ceramic shell is chipped away revealing a bronze sculpture that is finished
and sealed.
v.
vi.
The following images of the lost wax method are not in order. Please number them correctly.
Originally Running Man was placed at ground level thus appearing to be literally running through the
grass. However the artist changed the base in 2005. Amor explained his decision to remake the
base:
‘I was never quite happy with the base or the supporting leg so I reworked the leg in plaster
and then it was recast and reassembled. The base was (originally) square, now it is a longer
base and the figure is slightly off-centre. It gives the figure more of a forward movement
and the steel box it sits on raises the figure enough to give it more presence and bit more
drama – to take it a little bit out of our world.’
Rick Amor, The Age, 24 May 2005
Imagine what the work was like to view when the figure was at ground level. Describe some of the
differences.
Rick Amor was raised near the beach on Long Island, Frankston, Victoria. He displayed an early talent
for drawing and painting, and enrolled in a Certificate of Art course at Caulfield Institute of
Technology in 1964. In 1966 he began an Associate Diploma of Painting at Melbourne’s National
Gallery School, where he was taught by John Brack, Ian Armstrong, Murray Walker and Marc Clark.
In the 1970s Amor began his professional career as an artist, also working as a cartoonist and book
illustrator to support his art. He produced many posters, banners and cartoons for the Australian
Labor Party and Trade Union movement, and his illustrations featured in novels, children’s books and
magazines such as Overland.
Since his first exhibition at the Joseph Brown Gallery in 1974, Amor has held over 50 solo exhibitions,
showing annually at Niagara Galleries, Melbourne for more than twenty years. Several Australia
Council studio residencies have allowed the artist to work in London, New York and Barcelona, and in
1999 he was appointed the official war artist to East Timor by the Australian War Memorial.
© Heide 2011
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Page 8 of 21
HEIDE EDUCATION
Anthony Caro Sidestep 1971
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Anthony Caro (1924—)
Sidestep 1971
Materials:
_________________________
130 x 230 x 165 cm
Heide Museum of Modern Art
Gift of Tom and Sue Quirk 1998
Current location: Connie Kimberley
Sculpture Park
Can you see an architectural form in the surrounding environment that resembles this sculpture?
What is it? What are the similarities? What are the differences?
Sidestep is a sculpture which celebrates the use of steel in the Industrial Age and is to be viewed
from a number of angles. Identify two of the shapes created in the negative space as you move
around the sculpture and draw them.
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Page 9 of 21
HEIDE EDUCATION
Describe the materials and techniques used to construct this work. Where else have you seen these
materials used? Do the materials relate to other sculptures you have seen at Heide? Which ones?
What if the works were carved in another material, for example, stone or timber? Would they be as
successful? Why or why not?
Caro is considered to have developed a new sculptural aesthetic by challenging the tradition of
displaying sculptures on a pedestal. Instead of elevating his sculpture on a plinth, he placed them
directly on the ground, at the same level as the viewer. For him, this was a way of more directly
engaging the viewer in an experience of the work. In what way would Sidestep be different if it was
mounted on a plinth? Would we need to move our bodies in a different way to view the work? How
would that impact on our understanding of the work? Why do you think the work is titled Sidestep?
© Heide 2011
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Page 10 of 21
HEIDE EDUCATION
Anish Kapoor In the Presence of Form II 1993
and Untitled 1993
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Anish Kapoor (1954—)
In the Presence of Form II 1993
Materials:
__________________________
174 x 170 x 110 cm
Untitled 1993
Materials:
__________________________
52 x 90 x 70 cm
Heide Museum of Modern Art
Acquired through the Georges
Mora Foundation with funds
donated by the Victor Smorgon
Charitable Trust
Current location: Tony and Cathie
Hancy Sculpture Plaza
Circle the words that best describe this sculpture:
smooth
even
hollow
irregular
dull
pointy
abstract
rough
realistic
hard
round
grainy
hairy
abrasive
itchy
List some other
words:
____________
____________
polished
energetic
slick
lifeless
natural
colourful
bright
grimy
organic
solid
____________
____________
What do the shapes of these sculptures remind you of?
Throughout his career Anish Kapoor has explored what he sees as deep-rooted metaphysical
polarities: presence and absence, being and non-being, and the solid and the intangible. Many of his
sculptures, like those at Heide, are made of solid stone with carved apertures and cavities. In In
Presence of Form II, a curved egg-shaped form nestles within a cavity, its smoothness contrasting
with the roughness of the sculpture’s outer surface. The Kapoor works are two of Heide’s
international sculpture acquisitions which include works by John Atkin, Anthony Caro and Dennis
Oppenheim.
© Heide 2011
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Page 11 of 21
HEIDE EDUCATION
Inge King Rings of Saturn 2005-2006
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Inge King (1918—)
Rings of Saturn 2005-06
Materials:
__________________________
450 x 450 x 450 cm
Heide Museum of Modern Art
Commissioned through the Heide
Foundation with significant
assistance from Lindsay and Paula
Fox 2005
Current location: Sir Rupert Hamer
Garden
Are the materials Inge King has used to make Rings of Saturn easy to maintain? Are they durable and
hard wearing? Where else you have seen these materials used?
Inge King considers her art to be ‘non-representational’ not abstract. Is the title of this work
important to the way we understand it? How does it influence what we think about this sculpture?
Inge King is one of Australia’s most eminent sculptors. She attended the Berlin Academy of Fine Art
from 1936 to 37 and lived in Glasgow 1939 where she had an awareness of Henry Moore’s work. In
the late 1940s, prior to moving to Australia to marry artist Graeme King, Inge King lived in New York
where she mixed in the circles which included Mark Rothko, Barnett Newman and Walter Gropius.
This work was enlarged to the artist’s specifications from a maquette. Prior to making a maquette,
King creates very small craft board models. She prefers to use maquettes and models rather than
drawings to work out her ideas as she feels drawings inhibit her process. Rings of Saturn comprises
four intersecting rings and semicircular sections. The dynamic forms and play of light on the surface
suggests movement. The material, stainless steel, is an essential part of the concept. The brushed
surfaces create a scintillating effect, forever changing with the rotation of the sun. A dramatic effect
is achieved by lighting the sculpture at night.
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Page 12 of 21
HEIDE EDUCATION
Ronald Upton Stages 1, 2 & 3 1981
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Ronald Upton (1937—)
Stages 1, 2 &3 , 1981
Materials:
__________________________
239 x 126 x 83 cm,
180 x 122 x 80 cm,
162 x 100 x 56 cm
Heide Museum of Modern Art
Purchased from John and
Sunday Reed 1980
Current location: Connie
Kimberley Sculpture Park
Circle the words that best describe this sculpture:
smooth
even
hollow
irregular
dull
pointy
abstract
rough
realistic
hard
round
grainy
hairy
abrasive
itchy
List some other
words:
____________
____________
polished
energetic
slick
lifeless
natural
colourful
bright
grimy
organic
solid
____________
____________
Draw the sculptures in order:
Why did you choose number 1?
© Heide 2011
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Page 13 of 21
HEIDE EDUCATION
As a drama activity, work with your group to make a human sculpture.
Choose one of the three stages and recreate it using the people in your team.
Think of a song title that you could use to name or describe your sculpture.
Name at least two ways weather and time might have changed the appearance of these sculptures.
Do you think these sculptures fit into their environment? What are your reasons?
Ronald Upton lives and works in outer Melbourne. His interests cross sculpture, painting, drawing,
and printmaking. Works in the 1960s integrated experiments with materials to create light and colour
in form.
The skeleton or ‘armature’ for this artwork was constructed from steel rods and chicken wire, the
figure is modelled by trowelling the ciment fondu over this substructure. Newspaper was used to
provide support during the modelling. The ciment fondu is quick-setting, requiring the artist to work
quickly and surely because there is little opportunity for reworking or repair. The finished surface is
resistant to minor knocks and abrasion. A range of surface finishes can be obtained, including a
powder pigment to give the surface a bronze-like appearance.
The placement of the figures, both relative to each other and to the surrounding landscape, is
significant. The viewer is able to move around and between the figures, observing the changing
shapes and spatial relationships between the figures themselves and their surroundings. Such an
experience of three-dimensional form is particular to sculpture and not available to the viewer of
paintings.
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Page 14 of 21
HEIDE EDUCATION
Jeff Thomson Cows 1981
Looking at the sculptures, their labels and surrounding environment answer the following questions
and fill in the missing details.
Jeff Thomson (1957—)
Cows , 1981
Materials:
__________________________
Various dimensions, 119 x 192 x
91cm
Heide Museum of Modern Art
Purchased 1987
Current location: Connie Kimberley
Sculpture Park
These sculptures embody the spirits of Cappuccino and Espresso, two of the dairy cows owned by
John and Sunday Reed when they lived at Heide I. Legend has it that when the Reeds’ cows died,
each was buried with an acorn from the oak tree near Heide I.
Look around you. What evidence can you find that might support this story?
Look at the materials and methods used by Jeff Thomson to create this artwork. How have the
materials been reconfigured, manipulated, coloured? Are the materials new or old? What
construction methods have been used?
How suitable do you think Thomson’s choice of materials is for this particular work? Why?
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Page 15 of 21
HEIDE EDUCATION
Imagine if Heide decided to relocate Jeff Thomson’s Cows to Federation Square, opposite Flinders
Street Station. Do you think this would be a good idea? Explain why. Can you think of another
suitable location or environment for these artworks?
Imagine if you were to adopt a cow and give it a name. Look carefully at your cow for its individual
and distinctive characteristics. Invent your own myth or story about your cow. Create a role play to
act out your cow myth.
Who is it about?
What happened (what's the story)?
When did it take place?
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Page 16 of 21
HEIDE EDUCATION
Where did it take place?
Why did it happen?
How did it happen?
Jeff Thomson currently resides in Helensville, NZ, where he has a studio and works as a full-time
artist. Jeff is best known for sculpting with corrugated iron. These cows were part of a larger herd of
15 cows made in Hawke’s Bay, New Zealand and exhibited at Heide in 1987. These cows also remind
us that the property, prior to being owned by the Reeds was a dairy farm.
Jeff Thomson also made a corrugated iron HQ Holden Stationwagon 1991-92 with its radio aerial
bent into the shape of Australia, which he drove around Australia and New Zealand for three years,
before leaving it at Museum of New Zealand Te Papa Tongarewa.
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Page 17 of 21
HEIDE EDUCATION
Other sculptures to look for at Heide
Paul Hopmeier (1949—)
Savage 1982
imperite, cold zinc and steel
193 x 214 x 93 cm
Heide Museum of Modern Art
Purchased 1983
Current location: Heide I Garden
Lenton Parr (1924–2003)
Untitled 1970
welded steel, enamel paint
215 x 167 x 120 cm
Heide Museum of Modern Art
Gift of Trevor and Christine
Tappenden 2004
Current location: Heide I Garden
Alex Selenitsch (1946—)
Tree of Knowledge Circa 1989
painted, laminated timber
214 x 122 x 11 cm
Heide Museum of Modern Art
Bequest of Barrett Reid, 2000
Current location: Heide I Garden
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Page 18 of 21
HEIDE EDUCATION
Other sculptures to look for at Heide
David Tolley (1936—)
Lady in Waiting 1966
ciment fondu
183 x 150 x 90 cm
Man/woman Circa 1966
cement fondu
193 x 125 x 90 cm
Heide Museum of Modern Art
Purchased from John and Sunday
Reed 1980
Current location: Connie Kimberley
Sculpture Park
Andrew Rogers (1947—)
Meridian Foundries
Unfurling 2006
bronze
270 x 125 x 125 cm
Heide Museum of Modern Art
Gift of the artist 2008
Current location: Connie Kimberley
Sculpture Park
Janet Burchill (1955—)
Stein path 1999-2000
fired terracotta bricks
10 x 30 x 3640 cm
Heide Museum of Modern Art
Mapping and Reflection: A Garden
Transformed, initiated through Arts
Victoria's Victoria Commissions
Program, funded by the
Community Support Fund of the
Victorian Government
Current location: Connie Kimberley
Sculpture Park
© Heide 2011
For personal use only – do not store, copy or distribute
Page 19 of 21
HEIDE EDUCATION
Supporting Education Programs
Heide Education is committed to providing a stimulating and dynamic range of programs for
students and educators at all levels to complement Heide's exhibitions, collection, history and
gardens. Programs range from tours and art-making workshops to intensive forums with artists and
other arts professionals. Designed to broaden and enrich curriculum requirements, Heide’s programs
and online resources aim to inspire a deeper appreciation of art and creative thinking.
School Excursions:
Exploring & responding tours
Educational tours are tailored to meet individual student group capabilities and needs across all year
levels from K-12. This can be taken as a stand-alone excursion or combined with a Creating and
making workshop (see below for more information).
Heide History
Students learn about Heide’s unique history as the birthplace of Melbourne modernism with guided
tours of the 16 acre site, including the famous ‘scar’ tree, Heide I heritage-listed farm-house and
Heide II modernist architecture, the Sculpture Park and Kitchen Garden. Students discuss John and
Sunday Reeds’ art patronage, the lives and practices of the artists known as the Angry Penguins,
Sidney Nolan, Albert Tucker, Joy Hester, Arthur Boyd and John Perceval.
Heide Collection
Looking at highlights of the Heide collection displayed in Heide II, students gain an insight into the
Australian modernist art movement through to contemporary art practice. Students will be provided
with an immersive experience and opportunity to analyse and discuss the ways in which artists from
different times have created aesthetic qualities in artworks, communicated ideas and developed
styles.
VELS:
ARTS DOMAIN:
VCE ART:
Personal learning, thinking processes, civics and citizenship
Exploring and responding
Analytical frameworks, art and cultural context, interpreting art, discussing and
debating art
VCE STUDIO ART: Developing and interpreting art ideas, styles and materials. Professional practice,
art industry contexts
Creating & making workshops
Practical art-making education programs are conducted in the purpose built Sidney Myer Education
Centre. Creative programs are tailored to meet student groups’ capabilities and needs across all year
levels from K-12. Tasks can be extended or designed to be a collaborative exercise to encourage
team building, developing communication and negotiation techniques.
VELS:
Physical, personal and social learning, communication, creativity
ARTS DOMAIN: Creating and making
VCE ART:
Art making, cultural expression and personal meaning
VCE STUDIO ART: Exploration of materials and techniques
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Page 20 of 21
HEIDE EDUCATION
Education Resources
Heide offers online Education Resources to accompany our major exhibitions. These resources are
supplementary documents that include artist and exhibition information, colour reproductions of
key artworks and exhibition-related questions and activities tailored to the VELS and VCE curriculum.
Resources are regularly added to the Heide website and are available at
heide.com.au/education/resources.php
Bookings
Bookings are essential for all programs.
For more information, visit heide.com.au/education or contact Heide Education: T 03 9850 1500
[email protected]
Teachers are encouraged to visit Heide prior to a booked school visit (complimentary ticket
available) to familiarise themselves with the exhibitions and facilities.
Heide is committed to ensuring its programs and activities are accessible to all. Schools recognised as having a
low overall socio-economic profile on the Government School Performance Summary are eligible to apply for a
reduced fee. Please contact Heide Education for more information.
Prices and programs may change without notice.
Keep up to date with the latest Heide Education news and special offers by subscribing to the Heide
Education e-bulletin at heide.com.au/subscribe
Heide Museum of Modern Art
7 Templestowe Road
Bulleen VIC 3105
T 03 9850 1500
[email protected]
heide.com.au
Open daily 10am–5pm
Closed Mondays (except public holidays)
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Page 21 of 21