The current artistic director and CEO of Arts Catalyst replaces Mike Stubbs, who stood down in September after 11 years at the Foundation for Art and Creative Technology.
Art and Technology - a-n The Artists Information Company
The Design and Artists Copyright Society (DACS) has launched a report outlining how transparency, fair prices, and easier royalty collection in the art market could be improved by digital ledger technologies.
At a recent symposium in London, academics, technologists, artists and film makers gathered to discuss the politics and ethics of art technology. Artist and writer Alistair Gentry attended and was struck by the need for a much closer relationship between the tech and ethical tendencies in this ongoing and vitally important debate.
The Nottingham-based artist Wolfgang Buttress attracted huge media interest with The Hive, his bee-inspired sculptural installation for the 2015 Milan Expo UK pavilion. Wayne Burrows speaks to him about the work, currently on display at Kew Gardens, and BEAM, a companion piece on show at this year’s Wirksworth Festival.
For the latest in her regular series, Sarah Bodman looks at the work of New York-based Heidi Neilson ahead of a new show at Phoenix Brighton focusing on technologically-inspired artists’ books.
For her online artwork We Need Us – currently showing at group exhibitions in Manchester and London – Julie Freeman has powered an audio-visual animation with live data from the citizen science project The Zooniverse. She explains why data and how it’s used is so important in our increasingly digital lives.
An interactive public artwork created by Polish design studio LAX Laboratory for Architectural Experiments has been announced winner of this year’s Bristol-based Playable City Award.
Watershed in Bristol has announced the seven shortlisted projects for its pioneering creative technology award.
Eight international projects are in the running for the £30,000 award to create a future-facing artwork for Bristol and beyond.
Liverpool’s pioneering media arts centre is staging a special birthday event this weekend to celebrate the tenth anniversary of its Wood Street building.
Ten shortlisted projects announced for Watershed’s £30,000 Playable City Award, aimed at artists working with technology.
A new award invites artists to use creative technologies to ‘surprise, challenge and engage audiences’.
Torsten Lauschmann, byt, projection, oak boards, various objects, dimensions variable, 3″ (loop), 2011. Photo: Ruth Clark. Courtesy: Mary Mary, Glasgow; Dundee Contemporary Arts.
In 2010 artist Jo Berry embarked on a period of research within the School of Biomedical Sciences at Nottingham University Medical School, alongside Tim Self and Dr Nicholas Holliday. Here they recount the experience of an artist working in a ‘live’ scientific research environment, and the ways that the two disciplines of art and science can benefit each other to a wider audience.
Artists and arts organisations had the opportunity to debate current and future professional development needs and aspirations in June as part of strategic planning by Turning Point West Midlands.
In February, DACS initiated a lively debate around Artists’ futures: ‘Money, markets and the digital domain’.
Pre-symposium events being held in the run-up to ISEA 2011, Ellie Harrison at Waterman’s and John Gerrard at Canary Wharf Underground station.
Giulia Ricci, Untitled, hand made drawing, pen on paper, 25x20cm, 2010.
Contemporary Art Society’s latest initiative, the Annual Award for Museums, will provide
Anna Dumitriu’s collaborative practice takes performance, digital art, installation, microbiology and philosophy in its stride. She talks to Jane Watt about her practice and research.
Artist Neil Armstrong and pharmaceuticals company Specials Clinical Manufacturing talk about working towards a special commission in the latest of our collaborative relationships series.
In this months round-up we profile six open studio events.
The Somafree Institute of Psychoplasmics first appeared in David Cronenbergs 1979 film The Brood, yet despite once suggesting that if he failed as a filmmaker he could always set up a real life Institute, its 21st Century emergence is not his own doing.
With reference to the production of inter-disciplinary visual arts, Charlotte Frost indicates the types of activities involved, art forms which respond well to this style of collaboration and some of the difficulties experienced by production agencies in working in this way.
Information on the Cecil Collins Memorial Award for students.