Tools
Tools
Creamer, Anne-Marie (2017) The Future 100. [Show/Exhibition]
| Type of Research: | Show/Exhibition | ||||||||||||||||||||||||||||
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| Creators: | Creamer, Anne-Marie | ||||||||||||||||||||||||||||
| Description: | My work 'Treatment for Six Characters' featured in the exhibition (and long-listed for an award) at York Art Gallery with accompanying research symposium and publication. I was invited to present my major work, Treatment for Six Characters' in the exhibition, and to speak about the concepts, materials and mediums used and how put the development of this work into the wider context of how I navigate the contemporary artistic landscape and the implications this has for my and wider art practice. This event also included a book of the artists involved with a series of accompanying research texts, framed as ‘Future Now, 100 contemporary artists', published by Aesthetica Magazine, UK. With texts by Cherie Federico, Olivier Richon, Dr Rebecca Kill, Alistair Payne, Sophia Kosmaoglou. Research Symposium: This year, the event addressed how the arrival of the digital age has created an unprecedented feeling of alienation. Communication has changed and we now rely on technology to interact, presenting ourselves in ways that are evolving beyond control. The sense that the public is merging with the domestic has also spread into a larger, blurred depiction of reality. Surveillance is becoming a prevalent and inescapable issue internationally. Contemporary art is the mechanism that enables us to respond to this renewed understanding of living. Welcoming speakers from some of the UK’s leading art organisations, publications and galleries, Future Now gave attendees the opportunity to meet those who are shaping the art world today. Topics included Curating for the 21st Century Audience; Sculpture Today: Dependent & Autonomous Objects; Innovation in the Making: Technology, Design & Digital; The Future of Art Journalism: A Panel Discussion, and Future of Photography: The Epic in the Everyday amongst others. Representatives from the following organisations will be in attendance The Future Now Symposium took place at York St John University, UK. All sessions were hosted on the university campus. ________________________ Hosted by Aesthetica Magazine, the Aesthetica Art Prize is a celebration of excellence in art from across the world. 26 May - 10 September A platform for innovation and originality, the Aesthetica Art Prize Exhibition invites audiences to engage with captivating projects from some of today’s leading artists, both established and emerging. From individual narratives to global concerns, the artworks comment on contemporary culture and explore themes such as globalisation, perceptions of space and alienation in the digital age. As the boundaries between the public and the private begin to merge into blurred depictions of reality, contemporary art is the mechanism that enables us to respond to a renewed understanding of living. The 2017 presentation features the work of 16 shortlisted artists who hail from diverse locations including Australia, Austria, Brazil, Canada, Japan, the USA and the UK. Utilising a range of media, they work within the categories of Photographic & Digital Art; Painting, Drawing & Mixed Media; Three Dimensional Design & Sculpture. and Video, Installation & Performance. Images of 84 longlisted pieces will be shown on monitors within the gallery – offering a unique chance for visitors to explore the breadth and diversity of work being produced across the world today. The accompanying publication Future Now: 100 Contemporary Artists, which features the artists’ statements, images of their works and essays from leading art figures, is on sale at the exhibition. A series of Lunchtime Talks will take place at the gallery throughout the exhibition, offering a chance for visitors to enhance their experience of the Aesthetica Art Prize and hear directly from artists, curators and academics. Aesthetica Art Prize Exhibition, 26 May – 10 September (Daily 10am - 5pm), York Art Gallery, Exhibition Square, York YO1 7EW. For admission details, visit www.yorkartgallery.org.uk The 2017 Aesthetica Art Prize Shortlist Research symposium Panels: Keynote: A Renewed Understanding of Living Cherie spoke about the arrival of the digital age and how it has created an unprecedented feeling of alienation. Communication has changed and we now rely on technology to interact, presenting ourselves in ways that are evolving beyond control. Online networking sites like Instagram, Twitter and Facebook help to continue this façade, but they also take away the notion of privacy. The sense that the public is merging with the domestic has also spread into a larger, blurred depiction of reality. Contemporary art is the mechanism that enables us to respond to this renewed understanding of living. Session 1 In the age of funding cuts and readily accessible information, the notion of the modern museum is constantly under threat. Who has the authority to present artworks to contemporary audiences? Curators are expected to provide blockbuster shows and support new talent, whilst ensuring an influx of visitors. Darren Pih (Exhibitions and Displays Curator at Tate Liverpool) discussed how the responsive spectator affects new acquisitions through feedback that is both online and offline and how galleries are ultimately asked to find a balance between autonomy and algorithm. Session 2 – Sculpture Today: From the formal white-cube plinth to its development into site-specific locations, sculpture has always fluctuated between juxtaposing conditions of sovereignty and reliance based on the shifting topographies and varying locations of arts spaces. Aesthetica Main Prize Winner 2016 Rachel Ara, Steven Gartside (Holden Gallery) and Dr Joanna Sperryn-Jones, (York St John University) will explore the ways in which sculpture has transitioned between these two states throughout the 20th / 21st centuries, whilst considering the effects of audience interaction and the influence of technology. Session 3 – Innovation in the Making: From Louis Daguerre to Andy Warhol, artists have always used technology to invent, create and redefine their work. But in today’s climate there are more and more practitioners working with code rather than “making” in the traditional sense. This has an immediate effect on the viewer, who is engaging with a new world that represents both augmented and virtual realities. Hosts Warren Fearn (York St John University), Mike Stubbs (FACT, Liverpool) and Paul Chapman (Glasgow School of Art) negotiated the lines between art and design technology, offering examples in which the two disciplines meet. Session 4 There is an increasing number of organisations that commission and fund exhibitions. As such, this unique event offered an exchange of industry relevant ideas about the importance of new opportunities and ways in which to find support for artists, filmmakers and creatives alike. Alice Carey (Wellcome Trust), Seva Philips and Fran Sanderson (NESTA) and Gordon Dalton (Visual Arts South West) looked at the different avenues opening up and talked about how to approach a range of organisations for bursaries in order to develop and promote practices in a highly competitive sector. Session 5 Through social media the constant dissemination of images has changed our perception of photography. When should something be considered fine art as opposed to a snapshot? Contemporary practitioners are re-examining the form, and expanding its definition to include more interdisciplinary practice. Dr Christina Kolaiti lead a panel discussion with Thomas Dukes (Open Eye Gallery), Anne Williams (London College of Communication), Fiona Rogers (Magnum Photos) and Roma Piotrowska (Ikon Gallery) about what this means for the future of image-making and its influence on programming. Session 6 Whilst we live in a multicultural world, the consideration of diversity is now crucial more than ever. Art can undeniably connect people from a variety of cultures and socio-economic situations, with the ultimate power to eliminate borders. Hosted by Rebekka Kill (York St John University), Season Butler (Slate), Zoe Sawyer (The Tetley) and Laurence Sillars (BALTIC) highlighted how organisations are addressing marginalisation and what is being done to ensure that audiences are experiencing the breadth of work being produced through a level playing field in the sector. Session 7 Moving away from traditional styles of abstraction and figuration, today’s painters and printmakers are forging unique pathways of experimentation, but several questions remain. How does the two-dimensional practice continue to be contemporary in spite of the rise in digital methods? Is the practice undergoing a renaissance now that it can move away from the canvas and incorporate multidisciplinary modes of working? Dr Alistair Payne (Head of the School of Fine Art, Glasgow School of Art) looked at the potential of painting now. Sessions: Friday 26 May 2017 The notion of how cities and urban spaces are built, negotiated, ordered and attributed cultural significance is key to understanding patterns and trends in society. With research interest in internationalisation and global urban cultures, Stuart discussed how globalisation is influencing contemporary art, and why interconnectedness is both influencing and challenging today’s cultural landscape. The artwork displayed responded to this and Stuart unpacked its relevance as a signifier of current times. Session 8 – The Contemporary in Historical Settings: The Creative City Cities have quickly become a malleable arena for architects, festivals and artists. While places like Edinburgh offer profoundly historic contexts, they have also evolved into major hubs for contemporary culture, each year hosting an extraordinary cultural presentation. Sorcha Carey (Director of Edinburgh Art Festival) and host Steven Gartside (Holden Gallery) expanded on the potential to uncover new perspectives in the historic city and the opportunities for promotion and programming amidst an array of festivals all jostling for space and audience. Session 9 As viewers’ expectations are altered and artists follow new modes of making, the role of the public gallery is in a state of flux. Having identified creative ways to promote age-old collections alongside innovative commissions, Rachael Browning (Art Fund), Maitreyi Maheshwari (Zabludowicz Collection) and representatives from Art Fund Museum of the Year 2016 finalists John Heffernan (Jupiter Artland) and Reyahn King (York Art Gallery) discussed the challenges of curating in the 21st century and how funding shapes exhibition programmes. Session 10 The increasing number of site-specific artworks being commissioned, accompanied by the rise of “pop-up” art projects, suggests this area of creative practice is growing at a remarkable rate. Its appeal is attributed to the dialogues stimulated within local communities and the wider collective consciousness. Laura Purseglove, Production Coordinator for Artangel – known for Rachel Whiteread’s House, Michael Landy’s Breakdown and Roger Hiorns’s Seizure – discussed strategies of engagement, in relation to both the physical and social aspects of a site. Session 11 Print media has been left in a precarious position after the release of the smartphone and the subsequent ways to consume information. There is a growing expectation that news should be free, but specialist publications continue to thrive despite the option of data-filled landscapes. Kate Simpson (Aesthetica Magazine), Lara Eggleton (Corridor8), Christiane Monarchi (Photomonitor) and Molly Taylor (Elephant Magazine) discussed the balance between editorial and advertorial. Chaired by Sarah Cooper (Leeds Beckett University). Session 12 – Preparing for the Future: Offering insight into the significance of competitions in career development, the panel examines the reasons behind the prominence of international accolades and uncovers recurring trends in winning works. Reyahn King (York Art Gallery), Scott Gray (Sony World Photography Awards), Griselda Goldsbrough (Aesthetica Art Prize) and Bryony Harris (Max Mara Art Prize for Women) thought about how awards give practitioners a chance to display their pieces amongst peers, gaining increased exposure and further developing their ideas. Session 13 This session highlighted the connections between distribution, production and curation of artists’ film and moving image, recognising the fluidity of the genre. What is the crossover between contemporary fine art practice and mainstream cinema? James Boaden (University of York) and Sarah Perks (Home) looked at the way the medium is exhibited and how this can challenge perceptions, as well as noting the current platforms available in terms of distribution. An important question was asked: What is the key difference between being an artist and a filmmaker? |
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| Your affiliations with UAL: | Colleges > Central Saint Martins | ||||||||||||||||||||||||||||
| Date: | 2017 | ||||||||||||||||||||||||||||
| Funders: | Aesthetica Magazine, Hiscox, York St John University, Virgin Trains, Arts Council England, V&A, The Hepworth Wakefield, Ikon, York Museums Trust, Prestel, Winsor & Newton | ||||||||||||||||||||||||||||
| Related Publications: | https://aestheticamagazine.com/profile/anne-marie-creamer/, https://aestheticamagazine.com/artprize/artists-profiles-2017/ | ||||||||||||||||||||||||||||
| Locations / Venues: | Location From Date To Date York Art Gallery 26 May 2017 10 September 2017 |
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| Material/Media: | HD color video, with stereo soundtrack. | ||||||||||||||||||||||||||||
| Measurements or Duration of item: | video, 33 minutes long | ||||||||||||||||||||||||||||
| Date Deposited: | 14 Jul 2026 15:10 | ||||||||||||||||||||||||||||
| Last Modified: | 14 Jul 2026 15:10 | ||||||||||||||||||||||||||||
| Item ID: | 11534 | ||||||||||||||||||||||||||||
| URI: | https://ualresearchonline.arts.ac.uk/id/eprint/11534 | ||||||||||||||||||||||||||||
| Licences: |
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