ruth catlow
Since 2002
Works in London United Kingdom of Great Britain and Northern Ireland

Ruth Catlow was born in London 1968.

Ruth is an artist and co director of She works with a range of digital and network media as well as sculpture, writing, music and drawing, exhibiting in the streets and other public spaces, in galleries and on the Internet. Most of the works connect with specific (often unsuspecting) audiences in a specific condition i.e. on their way to work, doing the shopping, taking the kids to school etc. Or they intersect strangely with dominant and pre established genres in the mass media such as pornography on the Internet. In this way Ruth communicates her intimate and often raw perception of the big human subjects of love, sex, community, responsibility and freedom.

'A Diary of Objects in the Streets' is a website which documents the impromptu siting of a series of portable sculptures in public spaces with photographs and diary commentaries. The sculptures, made from materials and objects found in the streets, break with the conventions of interaction in London's public spaces.

Other recent projects explore personal expressions/representations of sexuality both domestic and mythic. They are Domestic Idols (selected by Sarah Cook for Lo-Fi), Mesmerized and Time to Smell the Flowers. Latest projects include a series of short films for the web such as 'Responsibility is yours' featured by Zbooks and 'One Among 400,000' a javascript driven collage of text, image and sound about the protest in London to stop the war against Iraq.

Ruth is co-director of, formed in partnership with artist, Marc Garrett in 1996 as an alternative platform for the creation, promotion, and archiving of new work for public viewing and interaction. Furtherfield collaborates with independent visual artists, digital/net artists, writers, critical thinkers, musicians and noisemakers with a special focus on work developed and produced outside the recognised institutional support structures (colleges, galleries, corporate and public funding). explores new and imaginative strategies for communicating ideas and issues in a range of digital & terrestrial media contexts.

Furtherfield's activities focus on presenting works online and organising global, contributory projects, which exist simultaneously on the Internet, the streets and public venues.
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Re: Resolution to Authorize Artistic Acts of Mediation

Hello Jim
> I am torn between wanting to applaud Randall for his fine fantasy, because
he says some
> important things that need to be said in the email and on the site, and
feeling that such
> fantasy only perpetuates the idea that there really does exist a free and
open political
> democracy in the USA.

I have been creating a website documenting my participation and witnessing
of the march to stop the war against Iraq in London on 28th September. It's
turned into a real sweat. From what I see, lots of artists are struggling
(with various degrees of success) to engage with and reflect their
experiences of the current international conflict.

For a start, it is still taboo for an artist to aspire to explore the big
social, subjects like survival of the species in a way that aims to affect
social change. Artists' tools of persuation are in the hands of the admen,
who use them to huge effect in the service of consumerism.
The level of self-deconstructing critique encouraged in the institutions of
the rare, high art world does not facilitate in artists either a cooly
empirical approach (which might lead to flourishing research) or a
purposeful and effective action.

Randall's piece seems to me to come close however to purposeful and
effective action. He creates a fictive model that presents an alternative
(no matter that it's far fetched) reality. This vision is a rare alternative
to the fait accompli of imminent war presented by the news media. If not
right now, very soon it seems to promise. His fiction presents some
alternative and unfamiliar ideas to the mesmerised and paralysed, war

There was a posting a couple of days ago by the Bureau of Public secrets
listing Paul Goodman's article "Designing Pacifist

he starts by saying
"I am asked for my thoughts about the content and style of anti-war films,
and how to make such a film. First of all, such a film must at least not do
positive harm by predisposing its audience toward war. The images of
senseless violence, horror, and waste that are usually employed in the
commercially successful 'antiwar