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).

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).

Rita Duffy, Soften the Border, 2017, installation on Blacklion-Belcoo bridge, dimensions variable.

Digital image courtesy of Rita Duffy (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 Chan, Moss Rain Paradox (project preview), video still, 2020.

Digital image courtesy of Angela Chan (CC BY-NC 4.0).

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, 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, Alpha, Isis, Eden, installation photograph, 1 February – 18 March 2017, multi-media installation made in collaboration with sound engineer Jack Latham.

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, 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, 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 × 61 cm sheet size.

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

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.

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

Unknown maker, MS 8932, depicting the Zodiac Man, circa 1415–20, England, paint and ink on parchment, 13 × 12 cm. Collection of the Wellcome Library, London.

Digital image courtesy of Wellcome Library.

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, New Brighton, England, UK, from 'The Last Resort', 1983–85

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON6977)

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, 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