Issue Index

Installation view, Jala Wahid, Sophie Tappeiner (detail), Frieze London Booth H03, Focus Section, October 2021.

Digital image courtesy of Jala Wahid (all rights reserved). Photo: Edwin Coomasaru.

The Market Woman’s Story: Contemporary Ceramics by Jacqueline Bishop (film still), 2022.

Digital image courtesy of Shelbourne Films, produced by Lucy Andia for British Art Studies (CC BY NC 4.0).

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

Michelle Erickson, Shell Dish and Helios Dish, 2021, 3D scanned printed, molded and slipcast porcelain with lifecast lobster and antler and ceramic transfer prints, width: 8 in. 3D scanning and printing done in collaboration with Dr Bernard Means at the Virtual Curation Lab, Virginia Commonwealth University. Collection of the artist.

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 King Returning from Holy Aruosa Cathedral (detail), 2018, rosary beads, bronze statuettes, and thread on canvas, 116 × 71 in.

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

Michael Leung, Mr. Lam turning the bone-setter illuminated sign on and off for the last time at the front entrance of his home, Yeung UK San Village, Wang Chau, 17 October 2020.

Digital image courtesy of Michel Leung.

Isaac Oliver, Sir Edward Herbert, later 1st Lord Herbert of Cherbury (detail of visible light image), circa 1613-14, 18.1 × 22.9 cm. Powis Castle, National Trust (NT 1183954).

Digital image courtesy of Hamilton Kerr Institute.

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.

Bettina Fung, Circle Loop, 2019.

Digital image courtesy of Bettina Fung.

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, 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, “Helen Gleason, Pervyse 1914”, Gleason, posing with a snapshot camera, met Chisholm while working for Dr Munro's Flying Ambulance Corps, 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, 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, Gourock Lido, Scotland, UK, 2004

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

Simon Starling, Project for a Masquerade (Hiroshima) (film still), 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, Library Light, 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.