On the cover – 2006 October
Kevin Osmond, Untitled (squirl cluster), drawing, 122x152cm
Kevin Osmond, Untitled (squirl cluster), drawing, 122x152cm
Kate Potter, Portrait, photograph, 2006
Ruth Moilliet, Wild Carrot (detail), 2006
Lorna B Hughes, Upholstered pigeon seats.
Paul Cole, Pink Hat, oil on canvas, 225x165cm
Ayling and Conroy, Ping pong asteroid, from ‘Fight for sore eyes’ at My House Gallery, as part of Sideshow, 2006.
Lida Abdul, White house, Kabul, 16mm transfer to DVD, 458, 2005. Courtesy: the artist and Giorgio Persano Gallery
On the occasion of Sharjah Biennial 8, Still Life: Art, Ecology and the Politics of Change, this a-n Collection focuses on creative processes at the intersections between art, radical politics and the environment.
It would seem that politics has taken centre stage in contemporary art.
The process of social change is in desperate need of creativity and imagination, and the aesthetic process in urgent need of social engagement
The planets environmental emergency is providing inspiration for a growing movement of artists whose work focusing on habitats, social issues and survival aims to raise awareness. Anna Minton reports.
Kate Walters, I can’t hear you (detail), watercolour, gouache, oil and graphite on shellac, 2006.
Francesca Steele, Les Fleurs du Mal, still from digital video, 2005.
Gayle Chong Kwan, Republic, from the Cockaigne series, c-type print, 2004
Paul Plews & Marieta Tsenova, Beauty, photograph, 2005.
Arts Council England’s scheme to offer all interested parties the opportunity to make their views known on the issue of the public value of the arts.
First impression of the residency: Kafkaesque. It appears as an institution, possibly a police headquarters or seminary for lay priests.
Sara Ogilvie, The Intellectuals, from a series of ten silkscreen prints called Tobacciana.
Advice from artists on assessing opportunities
The current interest in artist/architect collaborations seems to date back to the late 1970s when architect Richard Hobbs invited artists into the design process for the Viewlands-Hoffman electrical substation in Seattle.
Gillian Nicol explores the nature of collaborative and creative processes involved in making artwork in the public realm.
Adventure playgrounds, or junk playgrounds, as they were known, began life as occupied building sites, wastelands and bombsites that had been colonised by city children looking for interesting and adaptable spaces in which they could play in relative privacy away from adults.
One of the main tendencies in public space has been to minimise risk providing mini-cities in which risk has been all but removed.
Artists projects in progress
Residencies of any kind are a large undertaking for an artist to commit to both financially and emotionally. The time spent experimenting and finding a fresh perspective or continuing a train of thought uninterrupted must be weighed against the monetary […]