Issue Index

James McNeill Whistler, Brown and Silver: Old Battersea Bridge (detail), 1862–1865, oil on canvas mounted on masonite, 63.8 × 76 cm. Collection of the Addison Gallery of American Art (1928.55).

Digital image courtesy of the Addison Gallery of American Art / Bridgeman Images (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).

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).

INTERPRT, Spatial visualisation, 2020.

Digital image courtesy of INTERPRT.

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.

Ada Hao, Still from "like a flower paddle my teeth" (8:25), 2019.

Digital image courtesy of Ada Hao.

Margaret Mellis, Red Flower (detail), 1958, oil on board, 39.4 × 39.1 cm. Collection of Museums Sheffield (VIS.4951).

Digital image courtesy of the estate of Margaret Mellis. Photo courtesy of Museums Sheffied (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, 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, Gourock Lido, Scotland, UK, 2004

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON65518)

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, Gallery Shutters, 2016

Bedwyr Williams, Century Egg (video still), 2015, Commissioned by the University of Cambridge North West Cambridge Development through the Habitation Artist in Residency Programme managed by Contemporary Art Society and Insite Arts

Digital image courtesy of the artist and Limoncello Gallery