Page 125 – a-n The Artists Information Company

image

Simon Roberts, The Celestials #03A/27A_01_2021, cyanotype on archival paper, 38x28cm

by Ellen Wilkinson

Simon Roberts, The Celestials #03A/27A_01_2021, cyanotype on archival paper, 38x28cm

Black and white print depicting a building standing behind a wall and 3 large columns. A figure dressed in a white sculptural top that covers their head stands in front of the wall.

image

Gisela Torres, Looking for Edmonia (Self-Portrait)

by Ellen Wilkinson

Gisela Torres, Looking for Edmonia (Self-Portrait)

A blue fabric covered sculpture resembling a sleeveless jacket with space for a pregnant belly, with shoulder straps and metal buckles. On the chest is a United Nations badge

image

Michael Lisle-Taylor, Cihuateteo, 2020 [2007], 70x45x48cm, kevla, cast from a heavily pregnant woman, United Nations uniform cotton drill & badge, metal fastenings, webbing, foam, cotton thread

by Ellen Wilkinson

Michael Lisle-Taylor, Cihuateteo, 2020 [2007], 70x45x48cm, kevla, cast from a heavily pregnant woman, United Nations uniform cotton drill & badge, metal fastenings, webbing, foam, cotton thread

Painting of a Black figure with eight limbs in a lilac suit, with banana trees behind them. The painting is framed by a larger green textile with ANANSI written in red fabric at the top.

image

Rudy Loewe, Anansi #1, 2019, acrylic on paper, textiles, 100cmx120cm. Photo: Eleni Parousi

by Ellen Wilkinson

Rudy Loewe, Anansi #1, 2019, acrylic on paper, textiles, 100cmx120cm. Photo: Eleni Parousi

a photo of a head which is covered with stripy black and white material with a pair of glasses on top and a dark blond fringe

image

SUSE TUTLE NECK

by Susanne Dietz

image

Craft Expertise Phase One Report

by [email protected]

image

The Market for Craft 2020

by [email protected]

image

The Market for Craft

by [email protected]

Installation view of an exhibition in a gallery with a plinth mount sculptural work in the foreground, a large painted screen behind and framed works on the walls.

image

Emma Talbot, installation view from ‘Emma/Ursula’, 2020 at Petra Rinck Galerie, Düsseldorf.

by [email protected]

Emma Talbot, installation view from ‘Emma/Ursula’, 2020 at Petra Rinck Galerie, Düsseldorf. Photo: Achim Kukulies

A painting of several naked figures and a human skeleton on a colourful background of organic shapes and swirling stripes.

image

Emma Talbot, How is your own death so inconceivable?, acrylic on silk. 2019.

by [email protected]

Emma Talbot, How is your own death so inconceivable?, acrylic on silk. 2019. Courtesy: the artist

Two people studying textile swatches in an album. A third person watches on.

image

Emma Talbot at the BAI at BAI Max Mara Historic Archive with Laura Lusuardi.

by [email protected]

Emma Talbot at the BAI at BAI Max Mara Historic Archive with Laura Lusuardi. Photo: Alyssa D’Adamo.

A person operating a knitting machine. There are spools of grey and pink wool lined up along the back of the machine.

image

Emma Talbot at Modateca Deanna, International Centre of Fashion Documentation, Reggio Emilia.

by [email protected]

Emma Talbot at Modateca Deanna, International Centre of Fashion Documentation, Reggio Emilia. Photo: TIWI Studio

A person standing behind a knitting machine. There are spool of red and yellow wool in the foreground.

image

Emma Talbot at Modateca Deanna, International Centre of Fashion Documentation, Reggio Emilia.

by [email protected]

Emma Talbot at Modateca Deanna, International Centre of Fashion Documentation, Reggio Emilia. Photo: TIWI Studio