DOCSLIB.ORG

Download Essay 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download Essay 2 Reflections on the Year 3 Project 1 Participation Begins With Me: Reflections From 2 Tate and School Headteachers on Year 3 David Parker with Kate Atkins, Maria Balshaw, Jackie Benjamin and Anna Cutler Reflections on the Year 3 Project This essay is one of nine commissioned by A New Direction to reflect on the Tate Year 3 Project and provoke thinking about future projects. For the full set go to www.anewdirection.org.uk/year-3-reflections Reflections on the Year 3 Project 2 David Parker David is a freelance researcher and evaluator with an interest in arts and creativity programmes for young people. Recent evaluations have focused on work for the British Council, Arts Council England and Sorrell Foundation. Formerly he was Director of Research for Creative and Cultural Skills, Creative Partnerships and the British Film Institute. Participation Begins With Me: Reflections From Tate and School Headteachers on Year 3 June In Conversation with... Kate Atkins Headteacher at Rosendale 2021 Primary School, Lambeth EDITED BY Naranee Ruthra-Rajan Dr Maria Balshaw CBE Director of Tate COPY EDITED BY Marina Lewis-King Jackie Benjamin, Head teacher at Tyssen The term Tate Year 3 Project Community School, Hackney in the first instance and Year 3 thereafter refers Anna Cutler to the whole project Director of Learning and latterly including planning and Director of Learning & Research production stages. at Tate (2010 - 2021) Steve McQueen Year 3 refers to the artwork and exhibition. For clarity, we have referred to the school year group of Year 3 as Y3. 2 Reflections on the Year 3 Project 3 Kate Atkins Jackie Benjamin, Headteacher at Rosendale Head teacher at Tyssen Primary School, Lambeth Community School, Hackney Kate has been teaching in Lambeth for Jackie has been teaching for over 20 over 20 years. She began her teaching years in schools in Tottenham and career in Early Years, which is still an Hackney, becoming a head teacher 6 ongoing passion. In addition to being years ago. After leaving school with no a Headteacher she is CEO of the Great qualifications, Jackie started working North Wood Education Trust, a Multi as a hairdresser and later a chef. She Academy Trust with a local secondary has always had a passion for working school and 3 children’s centres. Kate with children and at 30-years-old, she led ReflectED, one of the first school- graduated as a fully qualified teacher. led research projects in the country as She strongly believes that there is a well as leading Connecting Knowledge, real need for children to see teachers a London based research project who represent the community they which resulted in Rosendale being live in and see that, no matter where an Excellence Hub for lesson study. you start, there are no limits. Rosendale is an EEF Specialist Partner for Research, supporting schools in London and beyond to use evidence- Anna Cutler based practice in the classroom to Director of Learning and latterly improve outcomes for all children. Director of Learning & Research at Tate (2010 - 2021) With 30 years’ experience working in Dr Maria Balshaw CBE education and cultural settings at a Director of Tate local, national, and international level, Maria has held the role of Director Anna’s central purpose throughout of Tate since June 2017. As Director, her career has been to explore and Maria is also the Accounting Officer improve educational interventions appointed by the Department for in a range of cultural and cross- Digital, Culture, Media and Sport disciplinary arts environments. (DCMS). Previously, Maria was In September 2016 she initiated Director of the Whitworth, University Tate Exchange, a civic space of Manchester; Director of Manchester aimed at building dialogue around City Galleries; and Director of Culture art, society, and the urgent and for Manchester City Council. Maria complex issues facing us today. is Chair of the National Museum Directors’ Council and is a Trustee of the Clore Leadership Programme and Manchester International Festival’s Boards. In 2015, she was awarded a CBE for services2 to the arts. Reflections on the Year 3 Project 4 Participation Begins With Me: Reflections From Tate and School Headteachers on Year 3 Why did schools engage with the Tate Year 3 Project in such numbers? What were their motivations for participating? And what did Tate learn as part of that process? David Parker with Fundamentally Year 3 must be attributed venue explore ways of revaluing exhibition Kate Atkins, Maria to the artist and filmmaker Steve McQueen space and democratising the gallery. Balshaw, Jackie Benjamin whose vision for the project and the artwork “ When I looked at the photographs as a and Anna Cutler it became contains a beguiling surface collection, I saw several different ‘Londons’, simplicity, allowing inner complexities to filled with a huge mix of limitations and slowly emerge over time. Yet the warmth opportunities. And I was aware that not of feeling and personal engagement felt everyone portrayed would consider Tate by so many who experienced the Steve as their space. Year 3 was a chance to McQueen Year 3 exhibition at Tate – challenge that. By placing the images along with the eye-catching billboards of those young people up on the walls, spread across London in 2019 – is also hopefully, it began a process of them due in no small part to the schools and feeling that the Tate might be for them children that participated. They were and their families in the future.” the stars of this particular show. Responding to this idea, Jackie But what motivated them to join in? On Benjamin, concurred. the face of it this was a simple idea with somewhat controlled content, a mass “ We probably had several motivations participation project with rigid logistics as a school but overall, it was very much and timescales which were for the most about the children being represented and part entirely inflexible: everything needed valued. And about them being involved in to happen with a particular year group the process, making the artwork happen. within London boroughs within a single It wasn’t just a visit in that sense. The academic year. Yet, at the same time, it children were partners, and they were really had a choral quality, ceding elements of invested in the idea; they felt involved.” individual control in order to enjoy the It was interesting to hear these interrelated overall impact of many young people expectations articulated from quite joining together in a shared endeavour. Maria Balshaw and different vantage points. The ideas set This was in essence a work of aggregation; Anna Cutler from out by Maria and Jackie speak directly to an example of how the whole really can Tate spoke with what we know to be important principles be greater than the sum of the parts. two headteachers about participatory practice. Participatory from participating To explore some of the dynamics projects aren’t just about empowering schools, Kate Atkins underpinning the process, A New Direction visitors. Every project has to address and Jackie Benjamin, organised two online discussions between three constituencies – the institution, to explore possible key participants from Tate and from participants and the audience and Year 3 reasons behind schools, the key themes of which are set did this very well. A theme that was also Year 3’s success. out below. Maria Balshaw, Director of picked up in the conversation between Anna Tate, explained that Year 3 had helped the Cutler and Kate Atkins. As Anna explained: Reflections on the Year 3 Project 5 “ I think a lot of value came through the the case of the core photography element, This was in fact that for Year 3 the whole concept while there were spin off activities to help cut through directly to the cohort the children understand how that day’s essence a work themselves. They are the piece. They photo would form part of an artwork at of aggregation; are the relevance. The entire concept Tate and follow up work teachers could was about the participants.” engage with, the creation of each class an example of image was a traditional interaction Kate Atkins also saw a large part of the between professional photographers and how the whole value in Year 3 generated by this sense children and teachers who were subjects. really can be of young people inhabiting the project. So far, so orthodox. Yet, as Anna pointed greater than the “ It was absolutely clear this was a ‘school’s out, ‘they are the piece’. The children project’ as opposed to a project to which occupied the halls and walls of Tate Britain sum of the parts. schools were invited… the project simply and therefore participation not only took didn’t exist without the participants.” the form of hands-on activities, it was The concept of participation was a deep also an aspect of each child’s identity, the feature within this work. It was also affirmation of their place within their multi-layered. Participation began with city and the possibilities their collective the individual, seeing themselves within generational representation suggested. the context of their classmates and the That schools embraced this concept so timeless nature of the school photo which enthusiastically, potentially broadens what is so relatable for us all. But each class engagement with art museums can mean, photo was set in the wider context of transforming mass participation with year group cohorts, which in turn were young people as a core element of high- scaled to include many other Year 3 profile conceptual works. This extended (Y3) children from the same borough. to the role of Steve McQueen working as Finally, as this process multiplied, a whole a partner with schools via Tate, Artangel, generation of 7- and 8-year-olds were A New Direction and ArtsMediaPeople.
Load more

Recommended publications
  • CVAN Open Letter to the Secretary of State for Education
    Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country.
    [Show full text]
  • “Museum Visionary” by Smithsonian Magazine, a Silicon Valley
    Nina Simon Nina Simon has been called a “museum visionary” by Smithsonian Magazine, a Silicon Valley Business Journal “40 under 40,” and Santa Cruz County Woman of the Year for her innovative community leadership. She is the Executive Director of the Santa Cruz Museum of Art & History and the founder/CEO of the OF/BY/FOR ALL movement. Nina is the best-selling author of The Participatory Museum (2010), The Art of Relevance (2016) and the popular Museum 2.0 blog. She lives off the grid in the Santa Cruz mountains with 20 people, 24 chickens, 5 dogs, and 1 zipline. Esme Ward Esme Ward was appointed Director of the Manchester Museum, the UK’s largest university museum, in April 2018 and is the first woman to hold the role in its 125-year history. Prior to this, she was Head of Learning and Engagement at Manchester Museum and the Whitworth, where she worked alongside Maria Balshaw on the £15 million redevelopment of the Whitworth. She is leading a significant capital development at Manchester Museum, renewing the creative and civic mission of the organisation with the ambition to become the most inclusive, imaginative and caring museum. In 2016/17 she was a fellow on the Clore Cultural Leadership Programme, exploring social and civic purpose, leadership and the future of museums. Her career has been driven by these values and a longstanding commitment to make museums more inclusive and relevant to the communities they serve. In 2018 Esme was awarded Honorary Professor of Heritage Futures from the University of Manchester. Esme is also the Culture Strategic Lead for Age Friendly Manchester and the Greater Manchester Ageing Hub, which heavily influences her work at the museum, ensuring culture in the city is accessible to all generations.
    [Show full text]
  • Report About the Project Director: Factory Manchester and Structural
    Manchester City Council Item 7 Personnel Committee 2 March 2016 Manchester City Council Report for Resolution Report to Personnel Committee - 2 March 2016 Subject: Project Director: Factory Manchester and structural changes in Strategic Development Report of: Chief Executive ___________________________________________________________________ Purpose This report seeks to establish a new fixed term role of Project Director for Factory Manchester for a period of up to 4 years to cover the period between June 2016 and January 2020. Recommendations: The Personnel Committee is recommended to: 1. Approve the creation of a position of Project Director for Factory Manchester at a salary of up to £140,000 for a period of up to 4 years and make a recommendation to Council on the remuneration for the post in line with the Council’s Pay Policy. 2. To appoint a subcommittee of four members to act as the appointment panel for the appointment of this position, with a quorum of three of the members for a meeting of the subcommittee. 3. To appoint a member as the Chair of the subcommittee. 4. To co-opt onto the subcommittee, as a non-voting member, a nominee of the Arts Council England so they may attend meetings of the subcommittee and be present during the consideration of any confidential business. 5. To delegate authority to the Deputy Chief Executive (Growth and Neighbourhoods), in consultation with the Chair of the subcommittee, to progress all aspects of the recruitment of the Project Director: Factory Manchester up to the point where a meeting of the appointment panel is necessary. 6. Approve an amendment to structural reporting lines for the Strategic Director (Strategic Development) and the structural position of the City Centre Growth and Regeneration team.
    [Show full text]
  • 2010 Breakthrough Fund Funding for Exceptional Cultural Entrepreneurs
    2010 Breakthrough Fund Funding for exceptional cultural entrepreneurs Maria Balshaw – Whitworth Art Gallery Stewart Laing – Untitled Projects Matt Peacock – Streetwise Opera Simon Pearce – The Invisible Dot Ltd Gavin Wade – Eastside Projects The Breakthrough Fund A successful arts economy requires not only great artists, but also Nominations process talented and visionary people who can enable these artists to make The Breakthrough Fund identified potential applicants through a process of great things happen. Paul Hamlyn Foundation set up the Breakthrough confidential nominations, asking a range of nominators to help spot talent Fund, over an initial period of three years, to support exceptional and share their intelligence across regions and art forms. Whilst art form and cultural entrepreneurs. This year sees the third and final funding round regional spread are not criteria for support, we believe that a balance has of the initiative as it was originally devised. PHF will now evaluate the emerged over the three years of the Fund. programme and start to assess its impact, with a view to reviewing This year, 15 nominators were chosen for their expertise and experience. findings in 2011/12 – and sharing them as widely as possible. They gave their personal recommendations without the nominees’ Cultural entrepreneurs may appear in a range of roles and with various titles – knowledge. Over 40 nominees were put forward and invited to enter the producers, artistic or executive directors, curators, chief executives – but they application process. each possess a pressing and persuasive vision, a drive and a strong track Paul Hamlyn Foundation gratefully acknowledges the invaluable contribution record of making things happen.
    [Show full text]
  • Maria Balshaw: Tate’S First Female Director
    ALUMNI MARIA BALSHAW: TATE’S FIRST FEMALE DIRECTOR INSIDE YOUR 2019 EDITION: ❱ A new concert hall for Liverpool ❱ The engineers of the future ❱ A bastion of digital tech ❱ CONTENTS 04 News Vice-Chancellor Professor Dame ALUMNI Janet Beer introduces a round-up 20 of campus news The most powerful 10 Class of 2018 woman in Welcoming more than 10,000 new British art graduates to the Class of 2018 How Liverpool shaped the path of Maria Balshaw 12 Making the law F Ecestiniti soluptate quod es voluptae. Offi ctis Harum quos CBE towards directorship 16 endignam facea qui blautIt’s es been maximin 125 years ullores since tibusam, the Liverpool comnia of the Tate galleries Navigating uncharteddollaccus exerunt. Law School was established. We and museums territory take a look at some of its greatest Three young entrepreneurs tell us achievements about their businesses, their Seismic events are by no motivations and how the Universitymeans feasibly19 predicted, IntoUniversity but n this issue we catch up with graduate Maria Balshaw helped them along the way Alumni volunteers have given their about her journey from Liverpool to the Tate; making steps towardstime to support such and enhancean the celebrate the 50th anniversary of the fi rst crossing of objective is imperativeexperiences of our students – here’s I how you can do the same the surface of the Arctic Ocean in which alumnus Dr Ken Hedges participated; and learn more about the new Digital Innovation Facility coming to Liverpool. 28 Class notes Thank you for all your feedback on last year’s magazine. What happened to your classmates Please do let us know what you think of this year’s edition.
    [Show full text]
  • Report on Art Galleries Bugdet to the Art
    Manchester City Council Item 5 Art Galleries Committee 17 February 2016 Manchester City Council Report for Resolution Report to: Art Galleries Committee – 17 February 2016 Subject: Manchester City Galleries’ report and revenue budget 2016/17 Report of: Director of Manchester City Galleries and City Treasurer Summary This report details Manchester City Galleries’ performance during 2015/16, outlines how we plan to deliver our vision in 2016/17, and presents a draft revenue budget for 2016/17 for the approval of the Art Galleries Committee. Recommendations Members are recommended to: 1. Approve the contents of the report, including the draft gross budget for 2016/17 of £3.258m, with cash limit budget contribution from Manchester City Council of £2.065m. 2. Recommend the budget to Executive for approval as part of the Council’s budget setting process. 3. Delegate authority to the Chief Executive and City Treasurer to make any technical adjustments required to take account of the impact of changes in 2015/16 and 2016/17 budgets. Wards Affected: All Community Strategy Spine Summary of the contribution to the strategy Performance of the economy of This report sets out proposals for the delivery of a the region and sub region balanced budget for 2016/17. Reaching full potential in This service, along with all others in the education and employment directorate, aims to support individuals, families and communities achieve best outcomes. Individual and collective self Individual respect and community resilience is a esteem – mutual respect key theme within the Neighbourhood Focus Strategy to which City Galleries contribute. Neighbourhoods of Choice Creating sustainable neighbourhoods where people want to live, work and stay as they become more economically independent is key to Growth and Neighbourhoods’ budget strategy, towards which this budget contributes.
    [Show full text]
  • Annual Seminar 2011 Speakers
    5th Annual Seminar Tuesday 1 November 2011, 10.00 - 17.10 National Portrait Gallery, London Biographies of speakers and chairpersons Dr Maria Balshaw has been Director of the Whitworth Art Gallery since June 2006. She has coordinated a challenging programme of historic, modern and contemporary exhibitions that capitalise on the Whitworth’s university location as well as having a strong international profile. In 2011 she took on the role of Director of Manchester City Galleries alongside her duties at the Whitworth. This dual Directorship represents a unique partnership between the University of Manchester and Manchester City Council, bringing the two institutions and Manchester’s historic and modern art collections into complementary alliance for the first time in their history. Early career experience included working as Director of Development and External Relations at Arts Council: West Midlands and from 2002 – 2005 she was Director of Creative Partnerships: Birmingham. In 2004, Maria was selected as one of the inaugural Fellows for the Clore Cultural Leadership programme. Before moving into the cultural sector Maria worked as Research Fellow in Urban Culture at the University of Birmingham and as lecturer in Cultural Studies at University College Northampton. She published a number of books and essays on African-American urban culture, gender and visuality. Dr Rosalind Polly Blakesley is a Senior Lecturer in the History of Art and a Fellow of Pembroke College at the University of Cambridge. Her publications include Russian Art and the West (co-editor and contributor, 2007); The Arts and Crafts Movement (2006); An Imperial Collection: Women Artists from the State Hermitage Museum (co-editor and contributor, 2003); and Russian Genre Painting in the Nineteenth Century (under her maiden name of Rosalind P.
    [Show full text]
  • Papers of Surrealism, Issue 8, Spring 2010 1
    © Lizzie Thynne, 2010 Indirect Action: Politics and the Subversion of Identity in Claude Cahun and Marcel Moore’s Resistance to the Occupation of Jersey Lizzie Thynne Abstract This article explores how Claude Cahun and Marcel Moore translated the strategies of their artistic practice and pre-war involvement with the Surrealists and revolutionary politics into an ingenious counter-propaganda campaign against the German Occupation. Unlike some of their contemporaries such as Tristan Tzara and Louis Aragon who embraced Communist orthodoxy, the women refused to relinquish the radical relativism of their approach to gender, meaning and identity in resisting totalitarianism. Their campaign built on Cahun’s theorization of the concept of ‘indirect action’ in her 1934 essay, Place your Bets (Les paris sont ouvert), which defended surrealism in opposition to both the instrumentalization of art and myths of transcendence. An examination of Cahun’s post-war letters and the extant leaflets the women distributed in Jersey reveal how they appropriated and inverted Nazi discourse to promote defeatism through carnivalesque montage, black humour and the ludic voice of their adopted persona, the ‘Soldier without a Name.’ It is far from my intention to reproach those who left France at the time of the Occupation. But one must point out that Surrealism was entirely absent from the preoccupations of those who remained because it was no help whatsoever on an emotional or practical level in their struggles against the Nazis.1 Former dadaist and surrealist and close collaborator of André Breton, Tristan Tzara thus dismisses the idea that surrealism had any value in opposing Nazi domination.
    [Show full text]
  • 15Th Elia Biennial Conference Rotterdam 2018 Urbanism Education
    Programme 21-24 NOVEMBER 2018 15TH ELIA ART BIENNIAL CONFERENCE EDUCATION ROTTERDAM URBANISM 2018 WELCOME 3 - 5 3 DOWNLOAD THE WHOVA APP Welcome to the 15th ELIA Biennial Conference Welcome to Rotterdam 5 ROTTERDAM & VENUES 6 -11 AND JOIN THE 15TH ELIA The city of Rotterdam 6 Main conference venue: De Doelen 7 BIENNIAL CONFERENCE Maassilo 8 Blue City 8 Walhalla / Circus Rotjeknor / Codarts Circus Arts 8 WORM / TENT 8 Other venues 9 Map of Rotterdam 10 EVENT TIMETABLE 12 - 18 PLENARY SESSIONS 20 - 21 PANEL SESSION 22 - 25 MOBILE THEMATIC SESSIONS THURSDAY 22 NOVEMBER 26 - 33 MOBILE THEMATIC SESSIONS FRIDAY 23 NOVEMBER 34 - 41 MEMBERS’ EVENTS 42 - 47 Open Space 43 ELIA Afternoon 44 General Assembly 47 CULTURAL PROGRAMME 48 - 51 Institution tours 48 Exhibition Maaskant Award: alumni of Willem de Kooning Academy 50 Performance 50 Civic Reception 51 Closing Party 51 SPEAKERS BIOGRAPHIES 52 - 55 Berhanu Ashagrie 52 Maria Balshaw 53 Elizabeth Giorgis 54 Jeanette Winterson 55 PRACTICAL INFORMATION 57 Info point, internet, useful numbers 57 THE EVENT INVITATION CODE IS: ACKNOWLEDGEMENTS 58 - 59 ELIABIEN18 NOTES 60 - 67 WELCOME BY THE STEERING GROUP WELCOME TO THE 15TH ELIA BIENNIAL CONFERENCE RESILIENCE AND THE CITY: ART, EDUCATION, URBANISM The contrast between the famously elegant renaissance city of Florence in the heart of Italy where the previous ELIA Biennial Conference took place two years ago, and the reconstructed industrial, cultural and commercial city of Rotterdam could hardly be more extreme. Situated just half an hour away from the more famous capital city, Rotterdam’s gritty determination and confdence in confronting economic, social and cultural opportunities and challenges make it an ideal location for this year’s conference.
    [Show full text]
  • PRESS RELEASE 05 July 2018
    UNDER STRICT EMBARGO UNTIL THURSDAY 5 JULY AT 10.00PM PRESS RELEASE 05 July 2018 TATE ST IVES WINS £100,000 ART FUND MUSEUM OF THE YEAR 2018 This evening (5 July 2018), Tate St Ives was announced as Art Fund Museum of the Year 2018, the largest and most prestigious museum prize in the world. Anne Barlow, Director of Tate St Ives, was presented with the £100,000 prize by artist Isaac Julien and the ‘world’s best teacher’ Andria Zafirakou at an award ceremony at the V&A, London. The winner was chosen from five finalists: Brooklands Museum (Weybridge), Ferens Art Gallery (Hull), Glasgow Women’s Library, The Postal Museum (London) and Tate St Ives (Cornwall). Each of the other finalist museums received a £10,000 prize in recognition of their achievements. Among the 400 guests at the dinner hosted by Stephen Deuchar, director, Art Fund were: Artists: Ron Arad, David Batchelor, Mat Collishaw, Michael Craig-Martin, Roger Hiorns, Gary Hume, Chantal Joffe, Isaac Julien, Ben Langlands and Nikki Bell, Lawrence Lek, Peter Liversidge, Junko Mori, Humphrey Ocean, Cornelia Parker, Grayson Perry, Gerald Scarfe, Yinka Shonibare, Bob & Roberta Smith, Linder Sterling, Mitra Tabrizian, Gavin Turk, Gillian Wearing, Stephen Willats and Bill Woodrow. Arts leaders: Maria Balshaw, Peter Bazalgette, Iwona Blazwick, Nicholas Cullinan, Michael Ellis MP, Alex Farquharson, Gabriele Finaldi, Tristram Hunt, Jay Jopling, Diane Lees, Jonathan Marsden, Nick Merriman, Munira Mirza, Frances Morris, Maureen Paley, Axel Rüger, Ralph Rugoff, and Nicholas Serota. The biggest museum prize in the world, Art Fund Museum of the Year seeks out and celebrate innovation, imagination and exceptional achievement in museums and galleries across the UK.
    [Show full text]
  • Matthew Darbyshire
    Press Release MANCHESTER ART GALLERY TO PRESENT THE IMITATION GAME AN EXHIBITION OF WORK BY EIGHT INTERNATIONAL ARTISTS EXPLORING MACHINES AND THE IMITATION OF LIFE 13 FEBRUARY 2016 – 5 JUNE 2016 (L) Mari Velonaki, Fish-Bird, 2003-present. Courtesy the artist (R) James Capper, TELESTEP, 2015. Courtesy the artist, Hannah Barry Gallery, London and Paul Kasmin Gallery, New York SHOW TO INCLUDE VIDEO, SCULPTURE, PERFORMANCE AND INSTALLATION WORK BY ED ATKINS, JAMES CAPPER, PAUL GRANJON, TOVE KJELLMARK, LYNN HERSHMAN LEESON, DAVID LINK, MARI VELONAKI AND YU-CHEN WANG CURATED BY CLARE GANNAWAY The Imitation Game 13 February 2016 – 5 June 2016 Press view: 12 February 2016 I propose to consider the question, “Can machines think?... Are there imaginable digital computers that would do well in the imitation game?” Alan Turing, Computing Machinery and Intelligence, 1950 In February 2016, Manchester Art Gallery will present The Imitation Game, an exhibition by eight international contemporary artists who explore the theme of machines and the imitation of life. The exhibition will include work by artists Ed Atkins, James Capper, Paul Granjon, Tove Kjellmark, Lynn Hershman Leeson, David Link, Mari Velonaki and Yu-Chen Wang. With a title inspired by Alan Turing’s ‘Turing Test’, devised to test a computer’s ability to imitate human thought, introduced in an article while he was working at The University of Manchester, The Imitation Game will include three new commissions and works never before seen in the UK. Manchester has a rich history of computer science, as the birthplace of the industrial machine- age, where the world’s first stored-program computer was developed.
    [Show full text]
  • Plus Tate: Connecting Art to People and Places Plus Tate: Connectingtable of Contents Art to People and Places Contents
    PLUS TATE: CONNECTING ART TO PEOPLE AND PLACES PLUS TATE: CONNECTINGTABLE OF CONTENTS ART TO PEOPLE AND PLACES CONTENTS TABLE5 INTRODUCTION OF CONTENTS 10 PLUS TATE ACROSS THE UK 12 ARNOLFINI 16 BALTIC CENTRE FOR CONTEMPORARY ART 20 CORNERHOUSE / HOME Front cover: Kenneth Martin Chance and Order VI (detail) screenprint on paper 1976 Tate 24 FIRSTSITE © The estate of Kenneth Martin 28 GLYNN VIVIAN ART GALLERY First published in 2015 by order of the Tate Trustees by 32 GRIZEDALE ARTS Tate Publishing, a division of Tate Enterprises Ltd, Millbank, SW1P 4RG www.tate.org.uk/publishing 36 THE HEPWORTH WAKEFIELD © Tate 2015 40 IKON 44 KETTLE’S YARD All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, 48 MIMA including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers or a licence from the Copyright Licensing 52 MOSTYN Agency Ltd, www.cla.co.uk 56 NEWLYN ART GALLERY & THE EXCHANGE Designed by Tate Design Studio 2015 60 NOTTINGHAM CONTEMPORARY Partner profiles written by Becky Schutt Coordinated by Amanda King 64 THE PIER ARTS CENTRE Printed by Westerham Press Ltd, UK 68 TATE Printed on paper certified by the Forest Stewardship Council 74 TOWNER ACKNOWLEDGEMENTS 78 TURNER CONTEMPORARY In making this publication, Tate is grateful to the many contributors from 82 WHITWORTH ART GALLERY the Plus Tate network for their readiness to participate and share
    [Show full text]