Issue Index
British Art Studies provides an innovative space for new peer-reviewed scholarship on all aspects of British art, architecture, and visual culture in their most diverse and international contexts. It is co-published by the Paul Mellon Centre for Studies in British Art, London, and the Yale Center for British Art, New Haven, and reflects their dynamic research cultures.
-
Issue 25 – December 2023
Charwei Tsai, Ancient Desires, 2023, ceramic offering vessels, dimensions variable, commissioned by Kettle's Yard and the Paul Mellon Centre for Studies in British Art, during a residency at Wysing Arts Centre. Made with the support of artists Lawrence Epps and Isobel Meredith-Hardy at Wysing Arts Centre, Cambridge, and Marie Saint Bris, Paris.
Digital image courtesy of Charwei Tsai / Photo: Lucy Rose Shaftain-Fenner.
-
Issue 24 – March 2023
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.
-
Issue 23 – August 2022
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).
-
Issue 22 – April 2022
Thames River Works
Lizzie Malcolm | Rectangle, Visualisation of the River Thames, 2022.
-
Issue 21 – November 2021
Redefining the British Decorative Arts
Michelle Erickson, Wild Tweets, 2021, high temperature wood-fired indigenous North Carolina porcelain, height: 8 in. Collection of the artist.
Digital image courtesy of the artist / Photograph by Robert Hunter (all rights reserved).
-
Issue 20 – July 2021
Rita Duffy, Soften the Border, 2017, installation on Blacklion-Belcoo bridge, dimensions variable.
Digital image courtesy of Rita Duffy (all rights reserved).
-
Issue 19 – February 2021
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).
-
Issue 18 – November 2020
Angela Camacho and Adriana Buzman, Tinku Warmi, film still.
Digital image courtesy of Angela Camacho.
-
Issue 17 – September 2020
Elizabethan and Jacobean Miniature Paintings in Context
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).
-
Issue 16 – June 2020
Bill Brandt, A Group of Coal Searchers near Heworth, Tyneside, Pithead Train in the Distance (recto), 1937, printed circa 1966, photographic print.
Digital image courtesy of Bill Brandt and the Bill Brandt Archive Ltd. Photography by Richard Caspole and Robert Hixon.
-
Issue 15 – February 2020
Laura Grace Ford, Server Farms Pines, 2019.
Digital image courtesy of Laura Grace Ford.
-
Issue 14 – November 2019
James Richards, on the side of the disease and not the cure, 2019.
Digital image courtesy of James Richards.
-
Issue 13 – September 2019
London, Asia, Exhibitions, Histories
Rubber shavings made during Bettina Fung's performance of "Towards All or Nothing (In Memory of Li Yuan-chia)" at Manchester Art Gallery, 6 March 2019.
Digital image courtesy of Bettina Fung.
-
Issue 12 – May 2019
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).
-
Issue 11 – March 2019
Theatres of War: Experimental Performance in London, 1914–1918 and Beyond
Film still, The Ballet of the Nations, 2018.
Digital image courtesy of Impermanence.
-
Issue 10 – November 2018
Landscape Now
David Alesworth, Unter den Linden, 2010, horticultural intervention, public art project, terminalia arjuna seeds (sterilized) yellow paint.
Digital image courtesy of David Alesworth.
-
Issue 9 – August 2018
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.
-
Issue 8 – June 2018
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.
-
Issue 7 – November 2017
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
-
Issue 6 – June 2017
Invention and Imagination in British Art and Architecture, 600–1500
Unknown maker, Ivory Staff Terminal from Alcester, 11th Century, ivory, 14 × 5 cm. Collection of the British Museum (1903,0323.1).
Digital image courtesy of Trustees of the British Museum
-
Issue 5 – April 2017
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
-
Issue 4 – November 2016
Martin Parr, De La Warr Pavilion, Bexhill on Sea, East Sussex, England, UK, 1978
Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON28062)
-
Issue 3 – July 2016
British Sculpture Abroad, 1945 – 2000
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
-
Issue 2 – April 2016
David Lewis, Concrete Patina Scroll, 2016
-
Issue 1 – November 2015
Patrick Staff, The Foundation (video still), 2015, Commissioned by Chisenhale Gallery, London; Spike Island, Bristol; Institute of Modern Art, Brisbane; and Contemporary Art Gallery, Vancouver. Co-produced by Chisenhale Gallery, London and Spike Island, Bristol