Page 392 – a-n The Artists Information Company

Plenary 3, Engage Conference 2017 (The Whole Picture: Rethinking diversity), Hull City Hall, November 2017. Photo: Amy Charles, Courtesy: Engage

A group of delegates at Engage Conference 2017 (The Whole Picture: Rethinking diversity), Hull City Hall, November 2017. Photo: Amy Charles, Courtesy: Engage

Plenary 1, Engage Conference 2017 (The Whole Picture: Rethinking diversity), Hull City Hall, November 2017. Photo: Amy Charles, Courtesy: Engage

Andrea Buttner, Yes, I believe, every word you say, 2007. The Turner Prize exhibition. Ferens Art Gallery. Hull. Photo: David Levene

Rommi Smith speaking during Plenary 4, Engage Conference 2017 (The Whole Picture: Rethinking diversity), Hull City Hall, November 2017. Photo: Amy Charles, Courtesy: Engage

Khadija Saye, Peitaw, 2017. From the series: Dwelling: in this space we breathe. Photograph, wet plate collodion tintype on metal. 250 x 200 mm. On loan from Vinyl Factory. Image courtesy of the Estate of Khadija Saye

Larry Achiampong, Testimony for the Relic Travellers’ Alliance, 2017 – installation view. 3 Phase, a partnership between Jerwood Charitable Foundation, WORKPLACE and Eastside Projects. Photo: Anna Arca

'IMPULSE' installed at Pace London, 6 Burlington Gardens, November 3 - December 22 2017, from left: Gilliam, Onion Skin, 1975, #67811; Noland, Indo, 1977, #67032; Louis, Number 1-71, 1962, #68163, format of photography: digital, name of photographer: Damian Griffiths, date of photography: 03/11/2017,

Clare Holdstock, installation view of exhibition Theories of Ruin Value, Queens House, Hull, 2017. Courtesy; artist.

Finas Townsend III, Brandon Coley-Cox, installation view of work in 'baby boy', Transmission, Glasgow, 2017. Courtesy; artists. Photo; Alberta Whittle.

Gilly Szego, The Escalator, ceramic mug (11oz), with a glossy Orca coating, 2017. Courtesy; artist.

Batia Suter Parallel Encyclopedia #2, 2016 © Batia Suter. Courtesy: the artist

Mathieu Asselin, Thuý Linh, Ho Chi Minh City, Viet Nam, 2015 © Mathieu Asselin. Courtesy: the artist

Luke Willis Thompson, Autoportrait, 2017 Installation view, Chisenhale Gallery 2017. Commissioned by Chisenhale Gallery and produced in partnership with Create. Courtesy of the artist. Photo: Andy Keate

Rafał Milach, Anaklia, Georgia (c) 2013. Courtesy: the artist. An unfinished viewing tower. In 2011, President Micheil Saakashvili visited Anaklia, a village located on the Black Sea. He conferred town rights on it and announced the beginning of an ambitious development programme which would transform it into a luxury resort. Resplendent with lavish glamour, Anaklia was intended both to become the new authorities’ political flagship and to compensate for the nearby city of Sukhumi, which was lost during the Georgian-Russian-Abkhazian conflict of the early nineteen nineties. Construction work began in 2012. After Saakashvili’s party was defeated in the parliamentary election of 2013 and Saakashvili himself fled the country, the work was discontinued and the colossal building site rapidly transformed into crumbling ‘modern’ ruins.

Ben Sadler, Skull Hand, limited edition laser cut, hand-assembled perspex brooch. Courtesy; artist.

School: A Recent History of Self-Organized Art Education, Sam Thorne (Sternberg Press)

Rebecca Foster, Mathew, oil on canvas 2017

UFO Drawings From The National Archives, David Clarke. Published by Four Corners Books