British Art Studies is an innovative space for new peer-reviewed scholarship on all aspects of British art.

Issue 27 – July 2025

Queer Art in Britain since the 1980s Edited by Fiona Anderson, Flora Dunster, Theo Gordon and Laura Guy

Detail of a black and white photograph. A woman wearing large, white angel wings sits intimately on the shoulders of another, who is wearing mesh wings adorned with metal objects. Magazines, a sex toy and a toy alligator are strewn on the floor below, while an artwork depicting three angels is projected onto the wall. — Tessa Boffin, *Angelic Rebels: Lesbians Have Safer Sex* (dithered detail), 1989, archival inkjet print, 111.5 × 76.2 cm. Digital image courtesy of the Estate of Tessa Boffin and the Gupta+Singh Archive, London, and Hales, London and New York / Photo: JSP Art Photography (all rights reserved).

INTRODUCTION

Introduction

Fiona Anderson
Flora Dunster
Theo Gordon
Laura Guy

VIRTUAL EXHIBITION

Mumtaz Karimjee

By Alice Correia

ARTICLE

Naughty Nuns and Saucy Sisters

By Thomas Elliott

ARTICLE

“More than Friends”

By Naomi Pearce

ARTICLE

“Gay” Image-Making from Britain and India

By Gregory Salter

ARTICLE

Living Proof

By Fiona Anderson

CURATORIAL ESSAY

Do Not Tape Over

By Ed Webb-Ingall

ARTICLE

Ecstatic Antibodies

By Theo Gordon

ARTICLE

Jay Prosser and St. Pelagius the Penitent at the Transgender Film Festival, or What Happened to Trans British Art?

By Evelyn Whorrall-Campbell

ARTICLE

Rewriting the Future

By Flora Dunster

INTERVIEW

Real Lemon

Interview by Sarah-Joy Ford
with Rachael Field

INTERVIEW

Revisiting Loss of Heat through Intergenerational Collaboration

Interview by Beth Bramich
with Noski Deville
and Nicola Singh

INTERVIEW

Correspondences and Fractures

Interview by Laura Guy
with Cherry Smyth

ONE OBJECT

The Practice and Politics of Archival Labour in Histories of Queer Art in Britain

Convened by Fiona Anderson

ARTIST COLLABORATION

Holes Big Enough for Women

By Liz Murray

CONVERSATION PIECE

Instituting Queer Art in Britain

Convened by Theo Gordon
and Laura Guy