Issue Index

Lizzie Malcolm | Rectangle, Visualisation of the River Thames, 2022.

Michelle Erickson, Shell Dish and Helios Dish, 2021, 3D scanned printed, molded and slipcast porcelain with lifecast lobster and antler and ceramic transfer prints, width: 8 in. 3D scanning and printing done in collaboration with Dr Bernard Means at the Virtual Curation Lab, Virginia Commonwealth University. Collection of the artist.

Digital image courtesy of the artist / Photograph by Robert Hunter (all rights reserved).

Rita Duffy, Soften the Border, 2017, installation on Blacklion-Belcoo bridge, dimensions variable.

Digital image courtesy of Rita Duffy (all rights reserved).

Victor Ehikhamenor, The Day Oba Esigie was Baptised (detail), 2019, rosary beads, bronze statuettes, and diamante fabric on lace, 89 × 68 in.

Digital image courtesy of Victor Ehikhamenor (all rights reserved).

Angela Chan, Moss Rain Paradox (project preview), video still, 2020.

Digital image courtesy of Angela Chan (CC BY-NC 4.0).

Isaac Oliver, Ludovic Stuart, 2nd Duke of Lennox and Duke of Richmond (photo-micrograph), circa 1603, 4.9 × 4 cm. Fitzwilliam Museum, Cambridge (FM 3869).

Digital image courtesy of Fitzwilliam Museum.

Bill Brandt, A Group of Coal Searchers near Heworth, Tyneside, Pithead Train in the Distance (recto), 1937, printed circa 1966, photographic print.

Digital image courtesy of Bill Brandt and the Bill Brandt Archive Ltd. Photography by Richard Caspole and Robert Hixon.

Laura Grace Ford, Barking, 2019.

Digital image courtesy of Laura Grace Ford.

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

Digital image courtesy of James Richards.

Nicholas Tee Performing "Yellow Peril" at Manchester Art Gallery, 6 March 2019.

Digital image courtesy of Nicholas Tee.

Margaret Mellis, Woman and Fish II (detail), 1957, oil on board, 76.2 × 54.6 cm. Collection of Jerwood Collection (JF 217).

Digital image courtesy of the estate of Margaret Mellis. Photo courtesy of Jerwood Collection (All rights reserved).

Film still, The Ballet of the Nations, 2018.

Digital image courtesy of Impermanence.

David Alesworth and Shakila Haider, Gardens of England, Bryant's Hill, 2017, watercolour on wasli paper, 30 × 34 cm.

Digital image courtesy of David Alesworth and Shakila Haider.

Jonathan Law, The Boy-Narcissus, 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.

Unidentified photographer, possibly Elsie Knocker, “Self and Jean-Batiste”, Mairi Chisholm with Jean Batiste, a Belgian Congolese soldier, undated.

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

Becket on a Peacock, circa 1250–1350, lead alloy, 5 × 2.7 cm. Digital replica of pilgrim souvenir in the collection of the British Museum (2001,0702.2).

Digital image courtesy of Rob Kaleta for the Digital Pilgrim Project (2016). Taken courtesy of the Trustees of the British Museum.

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, De La Warr Pavilion, Bexhill on Sea, East Sussex, England, UK, 1978

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON28062)

Gerard Byrne, 1984 and Beyond (production still), 2005–07, part of a multimedia installation featuring video, photography and text

Digital image courtesy of the artist

David Lewis, Highlights and Leaves, 2016

Mikhail Karikis, Children of Unquiet (video still), 2013–14

Digital image courtesy of the artist