Issue index

James Richards, on the side of the disease and not the cure, 2019.

Digital image courtesy of James Richards.

Ada Hao, Still from "like a flower paddle my teeth" (7:50), 2019.

Digital image courtesy of Ada Hao.

Avinash Chandra, Drawing 3 (detail), 1963, watercolour, 57.1 x 66 cm. Collection of Museums Sheffield (VIS.3419).

Digital image courtesy of the estate of Avinash Chandra. Photo courtesy of Museums Sheffield (All rights reserved).

Film still, The Ballet of the Nations, 2018.

Digital image courtesy of Impermanence.

David Alesworth, Unter den Linden, 2010, horticultural intervention, public art project, terminalia arjuna seeds (sterilized) yellow paint.

Digital image courtesy of David Alesworth.

Jonathan Law, Pattern, excerpt from film, 2018.

Digital image courtesy of Paul Mellon Centre for Studies in British Art with support from the staff of Leighton House Museum, The Royal Borough of Kensington and Chelsea.

Mairi Chisholm, “Gypsy”, Chisholm's nickname for Elsie Knocker, Pervyse, 1915.

Digital image courtesy of National Library of Scotland.

Clare Twomey, Made in China, ceramic vessels, 2016. Installed at the Yale Center for British Art, New Haven, 2017.

Digital image courtesy of Yale Center for British Art | Photo: Richard Caspole

Unknown maker, MS 8932, depicting the Zodiac Man, ca. 1415–20, England, paint and ink on parchment, 13 x 12 cm. Collection of the Wellcome Library, London.

Digital image courtesy of Wellcome Library.

Francis Alexander Skidmore and Sir George Gilbert Scott, The Hereford Screen (detail), 1862, painted wrought and cast iron, brass, copper, timber, mosaics, and hardstones. Collection of the Victoria & Albert Museum, London, Given by Herbert Art Gallery and Museum, Coventry (M.251:1 to 316-1984).

Digital image courtesy of Justin Underhill

Martin Parr, adminton Horse Trials, Badminton House, Gloucestershire, England, UK, from 'The Cost of Living', 1988

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON28930)

Simon Starling, Project for a Masquerade (Hiroshima) (film still), 2010–11. 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable

Digital image courtesy of the artist

David Lewis, Highlights and Leaves, 2016

Patrick Staff, The Foundation (video still), 2015, Commissioned by Chisenhale Gallery, London; Spike Island, Bristol; Institute of Modern Art, Brisbane; and Contemporary Art Gallery, Vancouver. Co-produced by Chisenhale Gallery, London and Spike Island, Bristol