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).

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, 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).

Francis Danby, Sunset at Sea After a Storm, 1824, oil on canvas, 89.6 × 142.9 cm. Collection of Bristol Museum and Art Gallery (K5008).

Digital image courtesy of Bristol Museum and Art Gallery (all rights reserved).

Victor Ehikhamenor, My Last Dance as King Before Sir Harry Lawson’s Army Arrive (detail), 2017, rosary beads and thread on lace fabric, 126 × 75 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 (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, 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.

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, 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, Pattern, 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 Skidmore, Wrought Iron Door Fitting, Coventry, 1865-70, photograph. Victoria and Albert Museum, London (E.416-2006)

Digital image courtesy of Victoria & Albert Museum

Martin Parr, Gourock Lido, Scotland, UK, 2004

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

Simon Starling, Infestation Piece (Musselled Moore), 2006–8, steel and mussels, 162.6 × 76.2 × 76.2 cm

Digital image courtesy of the artist

David Lewis, Empty Gallery, 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.