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73-769: Founded in 1949 as the "Young Contemporaries", the exhibition has run annually as a means to provide an impartial and democratic stepping stone from arts education to the professional art sector. Established hierarchies that might otherwise become set within the art school system are able to be assessed without bias through the anonymous selection process. Selectors have in the past included Ryan Gander (2013), Rosalind Nashashibi (2012), Pablo Bronstein (2011), Michael Landy (2007), Angus Fairhurst (2006), Jane and Louise Wilson (2005), Tacita Dean (2004), Rebecca Warren (2003), Sarah Lucas (2002), Chris Ofili (2001), Gavin Turk (2000) and Susan Hiller (1999). An annual exhibition for

146-478: A "non-style" that enables him to pursue ideas across many traditionally understood artistic media. However, across this work there are preoccupations that Gander returns to: legacies of modernist design , aesthetic value , creativity and education, para-possible and fictional ( utopian and dystopian ) worlds, and the relationship between art and design. This approach is exemplified in his major commission with Artangel titled Locked Room Scenario (2011), in which

219-568: A BBC4 programme Inside Museums, (episode 3) on the Ulster Museum in Belfast, broadcast on the 13th Oct 2020 at 7pm. The programme was presented and written by Emma Dabiri , who wrote: “The final work I want to show you is also by a woman – though this one, interestingly, does the reverse, imploring us NOT to travel. Elaine Shemilt is a contemporary artist, whose practice in recent years has turned more and more to environment activism. This print

292-402: A circle in the public square outside the cathedral. Each artwork was enlarged and reproduced from a maquette made by a child from Knotty Ash Primary using building blocks that, when rearranged, made a model of the cathedral. In 2019, Gander was commissioned to produce a public sculpture by Cambridge Biomedical Campus . Titled The Green & The Gardens , Gander led a concept that transformed

365-521: A circular configuration. Each element featured three links of mooring chain attached, implying a nautical functionality as well as alluding to trinkets on an oversized charm bracelet. Later in 2018, outside The Metropolitan Cathedral of Christ the King , Liverpool as part of the Liverpool Biennial . his work titled Time Moves Quickly , consisted of five public artworks, functional as benches, placed in

438-463: A gallery wall it's burrowed through elaborates further on the capturing of difference, voicing the opinion of the artist: Difference has become a currency of sorts. I happen to have been born with a great difference to most, and one that is visually recognisable at that. A curse to some, but a blessing to others. To me, it is neither. I am not sure how or when, but at some point, I just chose not to identify with my difference. I chose to ignore it, not in

511-583: A light breeze circulating. In 2015, Gander erected "The artist's second phone", a giant billboard installed outside Lisson Gallery, London, which borrows the aesthetic of vacant Mexican billboards to announce his phone number to all passing. The series of works "A lamp made by the artist for his wife" (2013) are ad hoc combinations of products available from most hardware stores to produce a functioning item of furniture. Recently, Gander has increasingly used vending machines to distribute works. Also in 2015, Gander presented Earnest Hawker (2015), his work in which

584-481: A panel of selectors each year to pick contributors. The exhibition was relaunched at the ICA in 1989 and toured to four regional centres. From 1989-1994, the exhibition was sponsored by British Telecom and since 2000 has been sponsored by Bloomberg . In 1996, the exhibition was invited to become an component of the Liverpool Biennial of Contemporary Art and has since been staged in the city every two years. New Contemporaries

657-520: A performer took on the persona of the artist, at the Performa Biennial . At frieze art fair 2019 Time Well Spent (2019) dispensed pebbles for £500 a piece. Gander's fascination with techniques of creative and associative collisions is evident in his earliest 'Loose Association' public lecturers, begun in 2002, and published together in 2007 as the book Loose Associations and Other Lectures . These lectures range across material, from meditations on

730-501: A period that scientists indicate as being "crucial in reducing carbon emissions before global warming hits a tipping point and becomes irreversible." Other public artworks include: Ghost Ship (2022) in Sunderland City Centre, UK; Our Long Dotted Line (or 37 years previous) (2021) at Space K, Korea; The day to day accumulation of hope, failure and ecstasy – The zenith of your career (The Last Degas) (2017), exhibited in

803-574: A planning engineer on the commercial gearbox line at Vauxhall Motors in Ellesmere Port, Liverpool (a fact about which he would later make work). Gander's mother worked initially as a teacher and then as an inspector for Her Majesty's Inspectorate of Education . Gander became interested in art after being taken to one of the early British Art Shows by his father. In 1996, Gander began studying Interactive Arts at Manchester Metropolitan University , graduating in 1999, and holds an honorary Doctor of

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876-697: A publication and exhibition, curated with art critic Jonathan P. Watts, is touring the world. In 2016, Gander also collaborated with Watts on "general studies" at OUTPOST, Norwich, a "service" that offered artist-designed Airbnb rooms available to rent cheaply during the British Art Show . In 2020, Gander founded Solid Haus, a new Kunsthalle-like contemporary art space situated in rural Suffolk, two hours east of London. Situated within his studio complex, Solid Haus made positive use of an era of lockdown with an intention of hosting impromptu projects by both emerging and established artists. In September 2023, Gander

949-508: A residential art school in a former primary school in Saxmundham , Suffolk. Modelled on a hybrid of the Dutch academy and artist residency, Fairfield International would provide six residencies a year to hard-up artists in need of a retreat. however, despite raising funds, the project was cancelled in 2015 due to a combination of factors, chiefly the bureaucracy of dealing with the county council over

1022-529: A terrifying idea… that unless things change, unless we change, there will be fewer places for us to travel to at all. It demonstrates one of the most profound ways in which our world has changed. All that exploration, and the exploitation of the world’s resources, has created a world in which we need to travel less. Even after a lockdown, where the skies were empty of planes for weeks, we cannot afford to become complacent." An important strand of her work involves collaboration between art and science. Her work with

1095-466: A wheelchair doesn't affect my view on the world. In an age where everyone identifies with being different, I am someone who actually can't walk and don't associate with being disabled. I don't tick the Arts Council funding box that says 'disabled' because I don't identify ... I don't want cheetah legs. I don't know any cheetahs." In his work The End (2020) an animatronic mouse poking its head through

1168-403: Is a British artist. Since 2003, Gander has produced a body of artworks in different forms, ranging from sculpture, apparel, writing, architecture, painting, typefaces, publications, and performance. Additionally, Gander curates exhibitions, has worked as an educator at art institutions and universities, and has written and presented television programmes on and about contemporary art and culture for

1241-608: Is also supported by the Arts Council England . During this recent period participants have included Damien Hirst , Glen Brown (both 1989), Simon Starling (1994), Natalie Finnemore (2012) and Hardeep Pandhal (2013). In 2020, due to the Covid-19 pandemic , and the impact it had on the arts , New Contemporaries staged an online platform, selected by artists Alexandre da Cunha, Anthea Hamilton and Linder . Ryan Gander Ryan Gander OBE RA (born 1976)

1314-621: Is an outline of the Island of South Georgia. Situated on the edge of the Antarctic South Georgia is a place loaded with significance. It was once a base for seven whaling stations, home to a grisly orgy of blood and blubber, synonymous with the destruction of the natural world. But in recent years the island has become a bellwether for environmentalists. A barometer for the effects of climate change. Shemilt invites us to look at this simple beautiful object – an embossed line on card and engage with

1387-580: Is closely linked to a special relationship with time. This was followed in 2019 by Me, My Selfie and I with Ryan Gander , which investigated the new phenomenon of the selfie. The programme was praised by The Guardian ' s Eleanor Morgan noting that "Gander's lines of questioning make for compelling viewing." Gander was Professor of Visual Art at the University of Huddersfield , and at University of Suffolk . In 2013, Gander and creative consultant Simon Turnbull proposed plans to open Fairfield International,

1460-612: Is in a touring exhibition, The Feminist avantgarde of the 1970s (+ various titles) , showing in Stavanger (Norway 2018), Brno (Czech Republic 2019), Barcelona (Spain 2020), Lentos Kunstmuseum Linz (Austria), New York City (2020 – postponed due to COVID), and in the Feminist Avant-Garde, Exhibition within Les Rencontres de la Photographie d’Arles Photographic Festival , Arles (France) July 4–25 September 2022. In November she

1533-435: Is interpreted, often by able-bodied commentators, as that of a disabled artist. The curator Matthew Higgs , for example, has argued that his disability contributes to his unique way of seeing: "The first thing I ever noticed about Ryan was that he uses a wheelchair. I mention this not in passing, nor as a gratuitous aside. Whilst I accept that some people might argue that this information is irrelevant, I would like to think that

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1606-532: Is married to the former director of the Limoncello gallery, Rebecca May Marston, with whom he has two daughters and one son. Elaine Shemilt Elaine Shemilt (born 7 May 1954) is a British artist and researcher especially known as a fine art printmaker . Her work does not take a conventional approach to the medium and ranges across a wide variety of media. According to the art historian and theorist Alan Woods: "Her work initially focused on installation,

1679-469: Is not an exhibition of protest, but could become the opportunity for commitment. It is the harder role.” The 1976 exhibition was staged at the Acme Gallery, 43 Shelton Street, Covent Garden and included a programmes of Live Art,(May 31 until June 5), from Jeremy Diggle, Terry Duffy, Marty St James, Charlie Process, Elaine Shemilt , et al. From 1978, the exhibition had an established exhibition venue in

1752-443: Is that the work has more end points than starting points – like a 1970s children's 'Choose your own adventure story''. An influential book Gander has referred to in several interviews is Edward Packer 's Choose Your Own Adventure books, first published in 1976, and marketed to 10 to 14 year olds. In these books the reader begins at page one, follows instructions at the foot of the page to turn to page two, from where instructions at

1825-571: Is the main outcome of the research published in late 2022 by John Libbey Publishing. Interest in Shemilt's early video and performance work has grown during the early 21st century. For example, the exhibition, SHE DEVIL 8, in Rome in 2016 was described: In 2019 she and artist Federica Marangoni collaborated on Parallel Dialogues Through Video and Time at Casa di Carlo Goldoni, Venice. The exhibition, curated by Laura Leuzzi and Iliyana Nedkova with Adam Lockhart,

1898-495: The Arts Council of Great Britain commissioned a feasibility report on New Contemporaries to look into the future viability of the exhibition. Published by Richard Shone, who has since become the Chair of a Volunteer Board of Directors, the report proposed a new structure and constitution for the organisation. For the first time, the exhibition was made independent from the art colleges, and supported by professional administration, inviting

1971-513: The BBC . Gander is typically described as a conceptual artist , but this is a term he has refuted, referring instead to himself as "a sort of neo-conceptualist, Proper-'Gander'-ist, amateur philosopher". He was elected Royal Academician in the category of sculpture. Gander's work has been displayed in several different countries. Gander was born in 1976 in Chester , northwest England. His father worked as

2044-547: The Falkland Isles by the then commander, Brigadier David Nicholls. The experiences of the staff and student team she put together led inevitably, to independent artworks by all. Four years later in 2002 this led to the exhibition, Traces of Conflict, The Falklands Revisited 1982–2002 at the Imperial War Museum . Shemilt's work in this exhibition was inspired by the abandoned field hospital at Ajax Bay , and according to

2117-569: The Genome Diagram developed by Dr Ian Toth and Dr Leighton Pritchard at the Scottish Crop Research Institute resulted in a portfolio of work including installations, digital animation, prints and music. In 2013 Shemilt completed a major SciArt commission for the University of Dundee College of Life Science's new Centre for Translational & Interdisciplinary Research building: The Scales of Life which embodies science and

2190-707: The Hayward Gallery and the Institute of Contemporary Arts in London and at the Edinburgh Festival . She was a pioneer of early feminist video and multi-media installation work alongside her fellow artist and friend Helen Chadwick , who selected her for the Hayward Annual in 1979. Of her early video works, only two have survived: Doppelgänger (1979), and Women Soldiers (1984), which were recovered and remastered by

2263-474: The Institute of Contemporary Arts (ICA) and a Permanent Committee supported the exhibition management until 1983. The selection of contributors was made by panels of students, divided between the specialisms of painting, sculpture, and performance/film. However, the students soon began to realise that the current format for the exhibition was unsustainable, and many organisers were left with personal debt. In one interesting movement toward complete democratisation,

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2336-768: The Society of Scottish Artists and was its president from March 2007 until 2010. Shemilt was elected a Fellow of the Royal Society of Arts in 2000 and of the Royal Geographical Society in 2009. She has collaborated with the video artist Stephen Partridge on several installations, including "Rush", first exhibited at London's Fieldgate Gallery, and "Quattro Minuti di Mezzogiorno", a HiDefinition video installation, exhibited in Italy in December 2010 – January 2011. In 2002 she

2409-415: The 1981 committee “in order to encourage a larger entry of works” asked for all submissions to be made in the form of slides and then created a slideshow that could be arranged at will “to give a more complete idea of what is going on in art colleges at the moment.” The final exhibition in this student-led format was staged in 1986 with a catalogue which contained a historical introduction (and post-script), to

2482-768: The Arts. After graduating from art school, he worked in a carpet shop in Chester for a while, before leaving to study in the Netherlands. Between 1999 and 2000, he studied as a 'Fine Art Research Participant' at the Jan van Eyck Akademie in Maastricht, Netherlands. From 2001-2002, he participated in the artist residency programme of the Rijksakademie van Beeldende Kunsten in Amsterdam. In 2004, he

2555-558: The Imperial War Museum Keeper Angela Weight, Shemilt "was gripped by the aura of a place where the writ of war did not run and young men were tended irrespective of whether they were friend or foe." In 2011 she produced a series of Screenprints and laser cut embossed prints and a suite of these were acquired by the National Museum of Northern Ireland for their permanent collection in 2020. These were featured in

2628-522: The Museum" to celebrate the 70th anniversary of the Arts Council collection, which toured to The Attenborough Centre, Leicester, UK, Longside Gallery, Yorkshire Sculpture Park , Yorkshire, UK, and Birmingham Museum and Art Gallery, Birmingham, UK; 'The Greatest Story Ever Told', The National Museum of Art Osaka, Osaka, JP in 2017; Knock Knock at South London Gallery , London, UK, 2018. "The Annotated Reader",

2701-523: The REWIND video art project in 2011. Shemilt established the printmaking department of the School of Fine Art, Duncan of Jordanstone College of Art and Design (University of Dundee) in 1988 and was course director of printmaking from 1988–2001 and Chair of Printmaking from 2001–2021. She is retired from academia but remains Professor Emerita of fine art printmaking and a professional member and former President of

2774-405: The artist's father when he worked at General Motors in the 1980s, and based on parts of the steering mechanism of a commercial Bedford truck, re-imagined by the artist from his father's verbal description; No political motivation (2011), a faithful reproduction of the revolving New Scotland Yard sign constructed to display the words 'THE WORLD S FAIR', incorrectly typeset with a half space between

2847-511: The characters 'D' and 'S' – meaning the sign could be interpreted in one of two differing ways, as an advertisement for an event or as a political slogan.. Gander has curated, by himself and in collaboration, numerous exhibitions, including, notably, "The way in which it landed" at Tate Britain , London, UK in 2008, featuring Lucy Clout, Nathaniel Mellors , Aurelien Froment, David Renggli, and Carol Bove ; 'Young British Art' at Limoncello, London, UK in 2011 featuring 70 emerging artist; "Night in

2920-410: The creative artworks of celebrated contemporary artists, whose repetition of a successful formula is contrary to creativity. Art for Gander is about "trying to make some original contribution to human history and knowledge, like an explorer". To avoid habitualised ways of working, Gander has looked to children's creativity, frequently collaborating with his daughters to realise artworks. Likewise, since

2993-428: The early 2000s he has used an array of pseudonyms to produce work outside of his typical concerns. These fictional characters spread across an increasingly growing web of citation and cross-reference, self-corroborating and self-sustaining fictional and possible historical events. In 2014, Gander told an interviewer that: 'I hope my work is [...] expansive or "multiplicit" (that is not a word but it should be). An objective

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3066-515: The essence of the four main scales of life and the intangibility of their size and dimensions. The visual abstractions reflect both an interpretive aesthetic approach, and the need to retain scientific recognition and accuracy. The main objective of the work is that the series of images reflect in a meaningful way the scientific research being undertaken within the CTIR building. The CTIR was officially opened by Sir Paul Nurse on 1 October 2014. In 2013 she

3139-500: The exhibition by Andrew Lambirth, New Contemporaries Past and Present . This essay also includes a number of published letters from previous contributors such as RB Kitaj , Bert Irvin , Michael Sandle , Richard Wentworth , and Derek Jarman . Artists who participated in the exhibition during this period include Helen Chadwick , Anish Kapoor (both 1977), Antony Gormley (1978), Mark Wallinger (1981), Peter Doig (1982), Dexter Dalwood (1983), and Catherine Yass (1984). In 1987,

3212-637: The exhibition each year. The first annual exhibition, initiated by Carel Weight for the British Society of Artists Galleries, was established in 1949 and known as 'Young Contemporaries'. In the foreword to the 1949 exhibition catalogue, Philip Hendy , then Director of the National Gallery, wrote of his "hope that it is only the first of many. That it may grown into an annual event." The early exhibition gathered much critical and audience attention. Howard Hodgkin recollected that “the most memorable event at

3285-513: The exhibition was renamed New Contemporaries. The Guardian reviewed the 1975 show as being “low on razzmatazz and high on endeavour”. William Tucker wrote in the catalogue introduction that “the successful student these days is likely to be persuaded that is he an artist. Nothing could be further from the truth. What the NC should do is enable students, for a moment at last as artists, to take public responsibility for what that have made – absolutely... This

3358-461: The extraordinary diversity of Gander's art, spanning sculptures that brushed with art history, chess sets made from car components, creative cocktails and designer trainers. In 2016, BBC Two broadcast Ryan Gander: Living is a Creative Act . In 2017, Gander appeared on Sky Arts' The Art Show . That same year BBC Four presented Ryan Gander: The Idea of Japan, taking him 6000 miles east of his Suffolk studio, to investigate how Japanese visual culture

3431-537: The fact that Ryan uses a wheelchair does – at least – have some bearing on my subsequent understanding of his work." In recent years, Gander has felt compelled to address his disability in order to correct other people's perception of his exceptionalism as a wheelchair user. In the BBC television programme Me, My Selfie and I with Ryan Gander , broadcast in 2019, Gander met a transhumanist who suggests that him he might be "improved" too by replacing his legs with bionic ones modelled on cheetahs. Gander replies: "Being in

3504-501: The film Back to the Future to the writing of Italo Calvino , modernism to children's books. Motifs of association and collision are evident across his works and he has explored techniques of association used by earlier modernist artists and architects, notably Luis Barragán and Ernö Goldfinger . With the sculptural series The Way Things Collide (2012–ongoing), Gander collides two elements that are hardest to be associated logically with

3577-415: The final selection of New Contemporaries is staged in a leading UK arts venue; New Contemporaries has exhibited as part of the Liverpool Biennial since its launch in 1999. The importance of regional impartiality is recognised in the anonymity of the contributor's school, age, and nationality during the selection process and by the annual exhibition having no fixed location. A catalogue is printed to accompany

3650-478: The first woman president and later the first woman president of the London Group), David Hockney (1960), Patrick Caulfield (1961), Ray Atkins (1964), Robyn Denny (1964), Keith Milow (1967), Derek Jarman (1967) and Gerard Hemsworth (1967). Andrew Lambirth wrote in 1986 that “it wasn't until 1969 that the year that the colour cover of the catalogue looked like an Alpine Advertisement for poster paint – that

3723-436: The foot of that page motivates a decision that splits the narrative. Gander is a wheelchair user with a long-term physical disability, a severe brittle bone condition which hospitalised him for long periods of time as a child. In 2006, his installation at the old Whitechapel Library, Is this Guilt in you too?, where he filled the space with obstacles, detritus, dead ends, and illusions meant to confound visitors and symbolize

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3796-516: The gardens of The Contemporary Austin Commission (USA), in late Autumn, 2018; Because editorial is costly (2016), a giant, swollen, mirror-finish stainless steel version of "Rapport de volumes" (1919) by Georges Vantongerloo in a crater as if crash landed exhibited during the Okayama Art Summit (JP); Dad's Halo Effect (2014), three polished stainless steel sculptures initially conceived by

3869-585: The hope that it would go away, but in the hope that being different would not consume my time and energy that could be better spent doing all the good stuff in the world. In 2010, Gander's sculpture The Happy Prince was commissioned by the Public Art Fund for Central Park, New York City. This concrete resin sculpture presented the ruin of the fictional statue from the final chapter in Oscar Wilde 's children's book The Happy Prince (1888). In 2012, Gander

3942-426: The human mind, each is a game, a challenge, with narrative consequences. A knotted condom is left on a USM cabinet; a skate wing rests on a suitcase; a macaroon balances on a stool. These are experiments in minimum constituents of narrative. Gander believes that everyone makes creative decisions in their daily life and can be a creative artist. These everyday acts of creativity, he argues, are often more exciting than

4015-527: The inequitable difficulties faced by disabled people, was part of the Arts Council England 's Adjustments exhibitions whose aim was "to address transitional thinking on disability, equality and inclusion". His work for the 2011 Venice Biennale exhibition featured an action-figure sized sculpture that represents him while he falls from a wheelchair. Despite various interviews and works made in which Gander explicitly states he does not understand himself to be disabled or "differently abled" to anyone else, his work

4088-581: The opening of the first show was the speech made by Philip Hendy. With extraordinary generosity and frankness and somehow with a lot of sympathy as well, he compared what he felt to be the bleak but possible heroic fate awaiting us when we left Art School to the cosy, hierarchical life of an Art Historian.” From 1949 until 1969, the contributors were selected by artists and art specialists, but then in 1969 and 1970 students controlled selection themselves. Notable artists who participated in these early exhibitions include Eduardo Paolozzi (1958), Dorothy Mead (1959,

4161-483: The organisation had dissolved into strife between college factions. The exhibition was not staged again until 1974. In 1973, tutors from some London colleges - including Gillian Ayres, Paul Huxley and William Tucker – grouped together to restore the exhibition. They took a year to draw up a new constitution, arrange a willing venue, and organise the selection process. Taking place at the Camden Arts Centre in 1974,

4234-623: The project was published in May 2019. Starting in March 2018 she started work as principal investigator on another AHRC-funded research project (£215,602), Richard Demarco , the Italian Connection | Exchanges between Scotland and Italy through Richard Demarco in the European context – a study on the eponymous artist, animateur, gallerist, and promoter of the visual and performing arts. A major publication

4307-414: The purchase of the building, and the presence of Japanese Knotweed , which meant insurers could not offer indemnity against the site. He was born with a severe brittle bone condition. Gander is a wheelchair user who does not identify as being disabled. He explains: "I don't even feel disabled. I've spent my whole life trying not to be disabled, so I don't want to be labelled a "disabled artist." Gander

4380-447: The space into a green heart of the campus, a shared place for everyone. In collaboration with Gillespies, landscape architects, they developed the design, selected the planting, furniture and lighting. Gander integrated sculptural elements: coloured tents that glow at night, an open gateway, a stile, and a community noticeboard. Gander's 2022 sculpture titled We are only human (Incomplete sculpture for Scraborough to be finished by snow)

4453-570: The students decided to take over selection themselves. This controversial move was the logical if belated reaction to establishment colonization of the YC. Wasn't the whot supposed to be for the students, by the students?” The 1970 exhibition, held at the Royal Academy , caused great controversy with one of the events nearly setting fire to the Royal Academy. Other sources claim funding was withdrawn because

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4526-716: The themes of conflict, censorship and psychological constraint in her work. Shemilt is a graduate of the Winchester School of Art and the Royal College of Art . From 1980–1982 she was one of the first Artists in Residence at the South Hill Park Arts Centre. She has exhibited internationally including in Switzerland, Denmark, the Netherlands, Canada, USA, Australia, Italy and Germany. In Britain she has exhibited at

4599-692: The various printmaking media were used in an attempt to continue and develop the installations by other means. If the event is inevitably lost, a new artwork is launched from it, and as themes and subjects occur and re-occur, their re-generation might usefully be imagined as located within an extended family of images." Between 1960 and 1972, Shemilt grew up in Craigavad , County Down in Northern Ireland. She attended non-denominational Bloomfield Collegiate School and Victoria College, Belfast during The Troubles where her experiences motivated her to develop

4672-628: The visitor enters a totally designed office space in a former trading depot where they are invited to solve the mystery of a group show of fictionalised artists, including their work, to which they are denied access. The work It Came out of Nowhere, he said staring at an empty space (2012) is a Comme des Garçons document wallet made collaboratively with the artist Jonathan Monk . His series of works titled Device #5 (2005) might be functional devices but actually are not. His installation at dOCUMENTA (13) titled I need some meaning I can memorise (The Invisible Pull) (2012), presented an empty room with

4745-575: The visualisation process. She collaborated with the Regius Professor Michael Ferguson and the architect Jo White. On three facades of the CTIR building, 16 columns of large metal cladding panels incorporate her artistic abstractions which represent the four key scales of life: Molecular , Organellar , Cellular and Tissue . The cladding panels (1.5m wide x 3.6m high) are made from a high quality anodised aluminium and are arranged vertically into groups of four panels. The panels address

4818-579: Was awarded a Royal Society of Edinburgh Caledonian European Research Fellowship to study and research in Italy, and was chair of the international printmaking conference IMPACT 8 held in Dundee in August. In 2014 she was awarded £234,872 from the Arts and Humanities Research Council to act as principal investigator on the research project European Women's video art in the 70s and 80s (EWVA) . A publication associated with

4891-607: Was commissioned by Mexico City Zoo, and located in the 'activity centre' for lions. Based on Sol LeWitt 's open cube structure, and the story that LeWitt allowed his cats to use his redundant sculpture, upscaled and added to, it was offered as a climbing frame and scratching post for lions. In 2018, Gander produced two public artworks, the first sited outside BALTIC gallery, Newcastle, titled To Give Light (Northern Aspirational Charms) . Ten minimal, simplified forms based on ten objects originally designed to emit or shine light were cast in black concrete and arranged chronologically in

4964-553: Was commissioned to produce Escape hatch to Culturefield , situated within a wooded area of the Karlslaue Park, Kassel, Delaware, as part of dOCUMENTA 13. Off the park's designated paths, a trapdoor fabricated from iron and concrete appeared to lead to an underground series of tunnels of some kind. The hatch, visibly partially open so that the spectator might partially peer inside, showed ladder rungs leading down. The same year, 2012, Gander's created It's got such good heart in it

5037-498: Was created in the shape of a dolos using a computer program to simulate snowfall. By subtracting the volume of snow from the sculpture's original shape, Gander created an artwork that would only be ‘finished’ when it snows, pointing to weather changes caused by global warming. The sculpture was cast in ultra-low carbon concrete and incorporated limestone formed from shells and skeletons of prehistoric sea creatures. The piece will be based at Scarborough Castle for 10 years through 2032,

5110-713: Was invited to curate the inaugural Chester Contemporary, an ambitious international cultural event that makes and shows relevant, distinctive, contemporary art alongside a programme of events that respond to the city's unique places and spaces, its history and its characters. Chester Contemporary features work by acclaimed UK artists and supports emerging artists at a pivotal point in their career to make new and ambitious projects. The programme included John Akomfrah , Fiona Banner, Simeon Barclay, and Peter Fischli & David Weiss . Gander first made an appearance on BBC Two in 2014 on an episode of The Culture Show in episode "The Art of Everything", presented by Miranda Sawyer , explored

5183-499: Was made Cocheme Fellow at Byam Shaw School of Art , London. It was winning the 2005 Baloise Art Prize at Art Basel for the presentation of his video work Is this Guilt in You Too (The Study of a Car in a Field) that launched Gander's career as an artist, winning a cash prize of CHF 30,000 (Swiss francs). Ryan Gander's body of work is vast, varied and diverse. His work is not invested in any single medium or style, he has cultivated

5256-530: Was made a Shackleton Scholar and was awarded a Carnegie Scholarship. She is a trustee and vice chair (2002–2020) of the South Georgia Heritage Trust established to promote the environmental protection and habitat restoration of South Georgia Island , a natural wilderness in the Southern Atlantic. In 1998 Shemilt was invited to lead a project to improve the environment of the military base on

5329-579: Was planned to tour to Scotland in 2020, but cancelled due to Covid. Articles, Exhibitions and Journal Papers reflect the renewed interest in Shemilt's works. Shemilt was featured in Gabriel Schor's book, The Feminist Avant Garde, Art from the 1970s in 2016 and 2nd Edition in 2022. In 2018. several of her works from the 1970s were acquired by the SAMMLUNG VERBUND art collection in Vienna, and her work

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