Arwed Messmer, RAF No Evidence/Kein Beweis, 2017 © Arwed Messmer: research, concept and editing; source: German Federal Archives, 2018
Laia Abril Magdalena, 32, Poland, 2018 © Laia Abril, 2018
Susan Meiselas, Sandinistas at the walls of the Esteli National Guard headquarters, Esteli, Nicaragua, 1979 © Susan Meiselas, 2018
The Factory, Manchester, view across the river
Jay, Laurie Clark, Moschatel Press, 2013, hand coloured drawings
Sealevel, On the skirts of a wood, Laurie Clark, October Foundation, 2001
100 Buttercups, Laurie Clark, WAX 366, on display in an exhibition curated by Laurie Clark and David Bellingham at Edinburgh College of Art Library, 2017.
Left: 100 Buttercups, Laurie Clark, WAX 366, 2010, right: 100 Harebells, Laurie Clark, WAX 366, 2012
Too Raucous for a Chorus, detail, Erica Van Horn, Coracle, with drawings by Laurie Clark, Moschatel Press, 2018
when I perform I often use objects to cleanse and protect the space. The objects often have more than one function such as being a sonic object and 'doing something' else.
Sally Tallant. Photo: Hugo Glendinning (https://www.hugoglendinning.com)
Owen G Parry and Beth Emily Richards, ‘PooR Life by dog people’, installation view at Transition Two, London, 2018. Photo: Toby Upson
West wing of the Mackintosh building, Glasgow School of Art, pictured from CCA's Scott Street entrance. Photo: Chris Sharratt
