Issue Index

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

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, I Am Ogiso, The King from Heaven (detail), 2017, rosary beads and thread on lace textile, 103 × 69 in.

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

Angela Camacho and Adriana Buzman, Tinku Warmi, film still.

Digital image courtesy of Angela Camacho.

Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, circa 1605, watercolour on vellum, laid onto table-book leaf, 5.7 × 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, circa 1603, watercolour on vellum, laid on card, 4.9 × 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869).

Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved).

Bill Brandt, Monsoon Drive (Five) (recto), 1969, 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.

Mary Potter, End of Daylight, 1954, oil on canvas, 74.2 × 99.6 cm. Collection of Museums Sheffield (VIS.2584).

Digital image courtesy of the estate of Mary Potter, DACS 2019. 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, 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

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 Skidmore, Hereford screen, spandrel, photograph. Victoria & Albert Museum (E.430:4-2006)

Digital image courtesy of Victoria & Albert Museum

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, Infestation Piece (Musselled Moore), 2006–8, steel and mussels, 162.6 × 76.2 × 76.2 cm

Digital image courtesy of the artist

David Lewis, Empty Gallery, 2016

Adam Broomberg & Oliver Chanarin, Trace fiber from Freud's couch under crossed polars with Quartz wedge compensator (#2), 2015

Digital image courtesy of the artists and Lisson Gallery, London