Page 2471 – a-n The Artists Information Company

Sutapa Biswas, ‘Birdsong’, 16mm, 7 mins 7 secs, 2004.

Harold Offeh, ‘Alien Communications’, 1999.

Jane Alexander, ‘African Adventure’, mixed media installation, detail, 1999-2000.
Courtesy: Jane Alexander.

Jony Easterby, Pippa Taylor, ‘Samphire Tower’, 2004.
Photo: J Bewley.

Marcus Amm, ‘Untitled’, oil on paper, 22x28cm, 2003-4.

Walter Jack, ‘Untitled’.
St Peter's Square, Leeds

Myfanwy Johns, ‘Light Lines II’, digital print.

Mark Beasley, ‘iDeath’, 2003.
With Flatpack001, as part of 'Roadshow', Grizedale Arts

Vong Phaophanit, Claire Oboussier, ‘Life Lines’.

Rachel Collins, ‘White Polygon Gallery’, mixed materials, 2004.
Photo: Paul McAree.

Alan Birch, ‘Safety Instructions for the Modern World’, (detail), 2004.

Emma Stibbon, ‘Berlin East 11’, woodcut.

Lily Markiewicz, ‘Chasing after the ghost of its own grace’, inkjet, 110x170cm, 2004.

Barbara Ryan, ‘Hotel Europa - Candyland Suite’, installation view (detail), 2004.

Barbara Ryan, ‘Hotel Europa - Candyland Suite’, installation view (detail), 2004.

Claire Morgan, ‘Come fly with me’, steel, nylon, dandelion seeds, lead, variable dimensions, 2004.

Mhairi Vari, ‘Shed’, plasticene, found objects, 215x125cm, 2004.

Tim Machin, ‘Situation at Noon Today’, cut newsprint (the daily weather forecast from the paper, all the clouds cut out), 7x5cm, 2001.

Tim Machin, ‘Untitled (Lone Stag in a Landscape)’, cut paper Blu-Tak (a stag cropped from a tourist leaflet, a whole packet of Blu-Tak), 15x8x5cm, 2004.

Tim Machin, ‘What You may Not Know’, ink on paper (a leaflet from Barclay's Bank, the text excised using a pen from Barclays Bank), 20x20cm, 2003.

‘Financial Arteries’.
Diagram from a-n December 1980 showing the distribution of arts funding in Great Britain at the time.

Emily Russell, Kristian De La Riva, ‘Do we have to play this game?’, still from 3-screen DVD, 2004.
Cover of a-n Magazine, December 2004.

Phillip Marsden, ‘Elgar (detail)’, 2004.

Helen Maurer, ‘Under Wood, Over Head’.
"The value of the Jerwood Applied Arts Prize 'the world's most prestigious prize in the decorative and applied arts' will double in 2005, to £30,000, along with the introduction of the new category of metal – covering all aspects of metalwork practice including siversmithing, goldsmithing, external architectural structures and smaller scale sculptural pieces – in the cycle of disciplines covered".

Norma Thallon, ‘Product Irregularities Are a Guarantee of Their Handmade Nature’, 2004.
Photo: Andrew Quinn.
In 2003 "Artist-run RED Gallery in Hull was a welcome exception, offering a '£300 fee to selected artists', although this was not a common feature in voluntarily-run artists-led ventures".