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).

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, 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, 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).

Sonia E. Barrett, Table No. 6, 2013, wood and metal.

Digital image courtesy of Bruno Weiss.

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, 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.

Ada Hao performing "Sound of other spaces with the speculative others" at Manchester Art Gallery, 6 March 2019.

Digital image courtesy of Ada Hao.

Avinash Chandra, Drawing 3 (detail), 1963, watercolour, 57.1 × 66 cm. Collection of Museums Sheffield (VIS.3419).

Digital image courtesy of the estate of Avinash Chandra. 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, 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

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, 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, De La Warr Pavilion, Bexhill on Sea, East Sussex, England, UK, 1978

Digital image courtesy of Martin Parr / © Martin Parr / Magnum Photos (LON28062)

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, Fan, 2016

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