Issue Index

Installation view, Jala Wahid: Conflagration, 22 October–30 April 2023, BALTIC Centre for Contemporary Art, Gateshead.

Digital image courtesy of Jala Wahid. Photo: Rob Harris © 2022 BALTIC (all rights reserved).

Jacqueline Bishop, The Market Woman's Story – 11, 2022, vitrified porcelain, 23.5 × 30 cm. Fabricated by Emma Price.

Digital image courtesy of Jacqueline Bishop / Photograph by Jenny Harper (all rights reserved).

James McNeill Whistler, Troopships (detail), 1887, etching and drypoint, second (final) state, 13.1 × 17.6 cm. Collection of the The Lunder Collection, Colby College Museum of Art (2013.490).

Digital image courtesy of The Lunder Collection, Colby College Museum of Art (all rights reserved).

Michelle Erickson, Remember, from the MADE IN USA series, 2020, commercial Starbucks “MADE IN USA” mug with artist’s ceramic transfer designs and gold and pink luster enamel, height: 4.5 in. Collection of the Chipstone Foundation.

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

Francis Danby, Sunset at Sea After a Storm, 1824, oil on canvas, 89.6 × 142.9 cm. Collection of Bristol Museum and Art Gallery (K5008).

Digital image courtesy of Bristol Museum and Art Gallery (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).

INTERPRT, Spatial visualisation, 2020.

Digital image courtesy of INTERPRT.

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, Stonehenge Under Snow (recto), 1947, printed later, photographic print.

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

Laura Grace Ford, Untitled Collage, 2016.

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

Digital image courtesy of David Alesworth.

Jonathan Law, The Boy-Narcissus, still 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, “Winkie Spaight”, Irene “Winkie” Gartside-Spaight in No Man's Land, ca.1916.

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

Pilgrim souvenirs and secular badges, from the collection of the British Museum, London.

Digital image courtesy of 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, Installation of New Lord Mayor, Fiona Woolf, Silent Ceremony, Guildhall, City of London, England, UK, 2013

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON156681)

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, Stair: Passing Clouds, 2016

Linder, Diagrams of Love: Marriage of Eyes (detail), 2015

Digital image courtesy of Linder Sterling / Dovecot Tapestry Studio, 2015. Photo : Michael Wolchover / Stuart Shave/Modern Art and Dovecot Studios Ltd.