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

PORTFOLIO (2)
BIO
Ruth Catlow was born in London 1968.

Ruth is an artist and co director of furtherfield.org. 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 furtherfield.org, 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). Furtherfield.org 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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DISCUSSION

I've always wondered how 4 planes could be simultaneously hijacked without anyone noticing


From: Tamiko Thiel <tamiko@alum.mit.edu>
To: faces-l@lists.servus.at
Subject: [faces] lucky day for terrorists and further classified info

I've always wondered how 4 planes could be simultaneously hijacked
without anyone noticing. Mindy Kleinberg, who lost her husband in the
world trade center that day, is wondering that also. Here's her
statement to the National Commission on Terrorist Attacks Upon the
United States:

http://www.9-11commission.gov/hearings/hearing1/witness_kleinberg.htm

... and this from Newsweek:

The Secrets of September 11
The White House is battling to keep a report on the terror attacks
secret. Does the 2004 election have anything to do with it?

April 30

DISCUSSION

Re: Re: rent-a-negro.com


Hi T.Whid

We really enjoyed meeting you at the Jodi opening last week at Eyebeam. It was
fantastic to meet so many open, friendly people, ready to share ideas as well
have a laugh. We could have done with another week of it.

However your comments about superior racial relations in the Northern States
puzzled me. The Eyebeam opening was certainly no model for racial integration.
Recall the photos from the previous Rhizome party. We also went along to the NY
Digital Salon symposium, I think that there was one black speaker or perhaps I'm
just colour blind. By far the majority of Black, Porta Rican and Mexican people
that we met in New York were working in the lower paid jobs, which is a kind of
oppression and segregation.

We did meet Joseph and Donna McElroy on our last day. They are building up to
some pretty radical projects (in the sense that they straddle the traditional,
institutional and academic, art, technological and corporate models) working in
the Bronx to facilitate the local communities in the creation of their own
leisure and arts industries. The idea is that the communities' leisure and
entertainment dollars are fed back into their own communities rather than to the
shareholders of big games and entertainment companies. I think I've got this
right...

waddya think?

respect

ruth catlow

www.furtherfield.org

"D. Jean Hester" wrote:

> t.whid--
>
> I have no desire to be an apologist for "the south" and have absolutely no
> illusions about racial harmony and equality in the southern states. I am
> from Georgia, but left after high school for a variety of reasons -- amongst
> them was the fact that a person like me could get no peace from the
> religious fundamentalists in my hometown. I was persecuted nearly every day
> of high school for not being "born again". It was not a tolerant place to
> grow up, so I left.
>
> But you really believe the north is centuries ahead of the south in terms of
> racial relations? Then explain why the worst race riots during the civil
> rights movement happened in Newark NJ and Detroit? Last I checked, both
> those are north of the Mason-Dixon line. And what about the race riots in
> Los Angeles in 1965 and 1992? Racial tension is not just in the south.
>
> Many people in the south - and also in other places as well -- have some
> really fucked up ideas about race which need to be addressed. But racism is
> *everywhere*. It is in every community in this country, and in every nation
> on this earth. People seem to have some need to point to someone unlike
> themselves (whether that be race, religion, gender, registered political
> affiliation, what side of the creek you live on) and make that "unlike"
> group into a scapegoat for whatever ails them.
>
> I find that people from "enlightened" areas like to point to the sins of the
> south, and act as if their own "enlightened" communities are pristine
> examples of happy people living as one. Why is that? Why do people insist
> on scolding the south and yet feel no need to scold their own states and
> communities?
>
> And t.whid, why, oh why, do you make this statement -- "Anyway, rural,
> conservative midwesterners are my family, yet I still remember as a child my
> step-mother proudly pointing out a large house in her small town which was a
> way-station on the underground railroad. I'm sure one would have a hard time
> finding a white person in the south USA with the same sort of pride." --
> Your statement paints every southern white person with a stereotype that
> does not speak well of you. I have read many of your posts, and have found
> much of what you say well thought out, intelligent, and fair. So why do you
> not place that same level of fairness in your statements about white people
> in the south? Because the south has an appalling history of racial
> inequality it is therefore ok to stereotype white southerners? I don't
> think so.
>
> Racism needs to be dealt with and eliminated, whether north or south of the
> Mason-Dixon. Perhaps a good way to start is to examine ourselves, and our
> communities, wherever they are, and acknowledge how far we all still have to
> go, and how much more work still needs to be done.
>
> -- D. Jean Hester
> www.divestudio.org
> Interviewer: "Must an artist be a programmer to make truly original online
> art?"
> John Simon: "Truly original? You Modernist! Whether you make art or not,
> understanding programming is an amazing understanding."
> from "Code as Creative Writing: An Interview with John Simon"
>
> >From: "t.whid" <twhid@mteww.com>
> >Reply-To: "t.whid" <twhid@mteww.com>
> >To: list@rhizome.org
> >CC: list@rhizome.org
> >Subject: Re: RHIZOME_RAW: Re: rent-a-negro.com
> >Date: Fri, 2 May 2003 21:01:54 -0400
> >
> >
> >I know that Patrick is from Ohio (as am i). And for all it's conservatism,
> >segregation, and prejudice the north USA is simply centuries ahead of the
> >south when it comes to racial relations. My father and his wife are
> >hillbillies, straight-up hillbillies without exaggeration. (Actually, my
> >father married into the hillbillies, my step-mother's family is from West
> >Virginia and as an adolescent we visited the family in West Virginia. They
> >lived in the hills with no plumbing on 'roads' that you needed a 4x4 to
> >safely traverse.)
> >
> >.
> >
> >--
> ><t.whid>
> >www.mteww.com
> ></t.whid>
> >
> >+ ti esrever dna ti pilf nwod gniht ym tup
> >-> post: list@rhizome.org
> >-> questions: info@rhizome.org
> >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> >-> give: http://rhizome.org/support
> >+
> >Subscribers to Rhizome are subject to the terms set out in the
> >Membership Agreement available online at http://rhizome.org/info/29.php
>
> _________________________________________________________________
> Add photos to your e-mail with MSN 8. Get 2 months FREE*.
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>
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> +
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DISCUSSION

Re: A Posteriori Art - follow-up


like it!

:-)

ruth

Dyske Suematsu wrote:

> A few things to add:
>
> In terms of supporting any activities that are yet to be "art", I must
> emphasize once again that my criticism is more towards the artists
> themselves than towards the institutions of art.
>
> Your own ideas need your own support too. There is only so much time in a
> day, and in your life. You need to define priorities. For an "artist", any
> activities that do not appear to have much profound meaning are pushed
> towards the bottom of the list. The same process will occur at the
> institutional level as well. The unfortunate thing about this process is
> that we often achieve great things if we didn't intend to achieve great
> things. If we try hard to attract someone, we fail, but when we have no
> intention of attracting anyone, we end up attracting someone. When we try to
> be funny, we fail, but if we stop trying, we naturally become funnier. Our
> intentions are overrated. We accomplish much greater things if we just let
> it happen; if we didn't sensor ourselves with intentions.
>
> Many famous artists live miserable lives. The only solace that they can
> find, what keeps them going, is the notion that they are doing what they
> love. It is not that they are truly doing what they love, it is the idea
> that they are supposedly doing what they love, is what gives them the
> comfort and pride. Meanwhile many of these established artists are slaving
> themselves to the market that demands and expects a specific brand of
> products from them. All they do is to churn out what is expected, like
> factory workers, because their concerns are more with preserving their
> status as artists than with doing what they love. Granted, there are many
> happy artists too, but it should strike you odd that in the field where
> people are supposed to be doing what they love, they are just as depressed
> as people of any other fields. I personally see this as a result of
> alienating themselves for the sake of being "artists". They suppress what
> they truly want to do for the sake of what could give them the title of
> "artists".
>
> Supposed you are an artist, but you find that you really enjoy cooking.
> Since you have a very little chance at achieving something profound with
> cooking, you suppress this desire, or keep it moderate, not to take too much
> time away from making "art". In this fashion, your true interests and
> passions get pushed down to the bottom of your priority list, because, as an
> "artist", your priority rests on creating something profound. A healthier
> approach would be to simply follow your passion, whatever it is. If
> something profound and meaningful comes out of it, that's great, if not
> that's great too; at least you didn't alienate yourself. However, this
> approach does not get much support, neither from yourself nor from your
> community, because there is no real grounds on which the meaningfulness of
> your activities can be justified.
>
> The term "art" is completely arbitrary. There is no substance that the word
> points to. Its definition is utterly biased and culturally dependent. Yet,
> we fund and support "art" based on this arbitrary grounds. For those who do
> not see the arbitrariness of the term "art", funding on the grounds of "art"
> seems perfectly sound. To me, it is as meaningless as funding someone
> because she is 27 years old. This is not to discourage funding. It's a
> positive thing, but I do not believe that funding "art" is any more
> meaningful than funding 27 year olds.
>
> -Dyske
> http://www.dyske.com
>
> + ti esrever dna ti pilf nwod gniht ym tup
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
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> +
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DISCUSSION

Re: dilky mirt


<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Re:
<br>NEW!! Alan Sondheim by Lewis LaCook: <a href="http://www.lewislacook.com/alanSondheim/">http://www.lewislacook.com/alanSondheim/</a>
<p>hey dancing bear
<br>i'd like to make this into a great poem, but it's not bastarding editor
<br>Whenever The computer flooded my body
<br>all animals have red eyes
<br>it should sound, how it should be
<br>ItMy feelings,&nbsp; ,my darkling child
<br>so thoroughly social
<br>It's not acceptable,
<br>butThe computer flooded my body so
<br>clearly to each other
<br>i just wanted to get my words out before...
<p>lovely
<blockquote TYPE=CITE><a href="http://www.lewislacook.com/alanSondheim/"></a>&nbsp;</blockquote>
</html>

DISCUSSION

Re:survey about netart's public


hi jean
we raised a question about audience to curators of net art at the New York
Digital Salon conference this last week. It seemed strange (if perhaps
unsurprising) that the question was hardly considered by the illustrious
panel of gallery and museum curators. Furtherfield would definitely like
give this survey a go in some form.
Another question that we are very interested by is how net users who would
not normally consider themselves to be interested in art, would come across
these works. Would it change their ideas about what art could be and its
relevance to them?

ruth catlow
http://www.furtherfield.org

ps. I intend to write in more detail about our trip to New York but in the
mean time... a massive appreciative and gushy hug to all the people who
read posts to this list and took the trouble to meet up with us. It was
incredible.

>
>
> I'm a french student folowing a master in Cultural Projects
> Management at the university of Paris 1. My current work deals with
> the question of Netart's public. My researches' aim is to answer to
> four questions:
>
> a. Who are the visitors of art stuff on the web?
>
> b. How do the public understand these master pieces? How various are
> their interpretations?
>
> c. How an internet's users manage to reach a master piece on the web?
>
> d. What does the link used by the user to reach the piece of art in
> his own interpretation?
>
> I realized a short survey to make visitors answer these questions.
> Christophe Bruno already agree to help me, then when someone reach
> the website <http://www.iterature.com/adwords/>Google Adwords
> Happening, the survey appear as a pop-up beyond the webpage.
> For my researches, I also need artists interested in my work to their
> visitors answer these questions. It also could help you to get a
> better knowledge of your audience.
> Thank you very much for your help in advance.
> Best regards
>
> Jean Thevenin
>
> P.S : sorry for bad english !
>
> --
> <twhid>
> http://www.mteww.com
> </twhid>
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