Issue Index

Francis Danby, Sunset at Sea After a Storm, 1824, oil on canvas, 89.6 x 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 x 69 in.

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

INTERPRT, Spatial visualisation, 2020.

Digital image courtesy of INTERPRT.

Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 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, ca. 1603, watercolour on vellum, laid on card, 4.9 x 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, Stonehenge (recto), 1946, 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 x 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, Drawings in Time (Engineers Carpet) (detail), 9 –12 February 2018 at 4.30 pm, series of 4 aerial photograph of site-specific drawing, archival gicleé print on hahnemuhle photo rag paper, 40.5 x 61 cm sheet size.

Digital image courtesy of Pioneer Art Residency (2018) Khushab, in collaboration with Canvas Gallery, Karachi.

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

Becket on a Peacock, ca. 1250–1350, lead alloy, 5 x 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, Wrought Iron Door Fitting, Coventry, 1865-70, photograph. Victoria & Albert Museum (E.416-2006)

Digital image courtesy of Victoria & Albert Museum

Martin Parr, Cricket Players Looking for Cricket Ball, Chew Stoke, England, UK, 1992

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON55595)

Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 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

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

Digital image courtesy of the artist