Issue Index

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.

Installation view, Jala Wahid: Conflagration, 22 October–30 April 2023, BALTIC Centre for Contemporary Art, Gateshead.

Digital image courtesy of Jala Wahid. Photo: Rob Harris © 2022 BALTIC (all rights reserved).

Jacqueline Bishop, The Market Woman's Story – 11, 2022, vitrified porcelain, 23.5 × 30 cm. Fabricated by Emma Price.

Digital image courtesy of Jacqueline Bishop / Photograph by Jenny Harper (all rights reserved).

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

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).

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.

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 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, Server Farms Pines, 2019.

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 × 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, 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, 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, “Winkie Spaight”, Irene “Winkie” Gartside-Spaight in No Man's Land, ca.1916.

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

Pilgrim souvenirs and secular badges, from the collection of the British Museum, London.

Digital image courtesy of 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, Installation of New Lord Mayor, Fiona Woolf, Silent Ceremony, Guildhall, City of London, England, UK, 2013

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON156681)

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, Library Light, 2016

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

Digital image courtesy of the artist