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British Art Studies<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D7b4ff3d28d-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=h0Gozi1sSxQ0kywWD5aRegR1ExsiuvkJJMjCNoctis8&e=> is a new open-access digital journal published jointly by the Paul Mellon Centre for Studies in British Art, London, and the Yale Center for British Art, New Haven View this email in your browser<https://urldefense.proofpoint.com/v2/url?u=http-3A__us7.campaign-2Darchive1.com_-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dd84b0b6be6-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=BhZMlc390nFUVMEYRfFMLue5N5qD3DU-oclf1mDSPi0&e=> [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/e2084ce5-b8dc-4434-b690-a307d7ec0f73.png]<http://paul-mellon-centre.us7.list-manage.com/track/click?u=061278c21d0c3cbb1a8bb039b&id=cecd01ddb0&e=e503d1c6e6> British Art Studies Issue 1 - Autumn 2015, available now<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dd0dc9a2907-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=03NEb-q81fIf1gU0Lq96z6cDOTtKpAMxouM3ORLx0Fg&e=> British Art Studies<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dbdc27420e7-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=GoASMXNzTXv4X28KP5Q9s9-GlFSa7HXGnA2Fwi1pTUo&e=> is a new open-access digital journal published jointly by the Paul Mellon Centre for Studies in British Art, London, and the Yale Center for British Art, New Haven. Offering a dynamic viewing and reading experience on an interactive, multi-media platform, BASresponsively adapts to tablet, computer, and phone screens. Content can also be saved, downloaded, and read offline. Offering free and open-access content, BAS requires no passwords, subscriptions, or fees. Taking an interdisciplinary approach, BAS presents innovative research and ideas on British art in an international context. Issue 1 features articles on Renaissance art criticism, the photographic lantern slide, images of charity in eighteenth-century London, the complex status of painting within the Arts and Crafts movement, an unwritten history of women artists focusing on Magda Cordell McHale, and the post-industrial landscape in the work of Prunella Clough. As well as single-author articles, British Art Studies includes collaborative features, photo essays, and films. One Object<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D7eb47e8ca1-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=7rmAfoS-fUeThYDk-GaTIm2_3VqCYqrs35stG55YRas&e=> takes a single object—a black limestone bust by the eighteenth-century sculptor Francis Harwood—as a starting point to think about materiality, portraiture, and race, through a co-authored discussion and photographic essay by the artist Ken Gonzales-Day. Look First<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D297d2af1d1-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=yk9aQRBDJEJd9xfP8jbeyQbIjuz3gEPKqFKdAo3KNdk&e=> showcases a series of evocative films exploring the work of postwar British photographer John Deakin. A Conversation Piece<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Da53a70d760-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=RJbMciatl1GGgg65MhJU0poOyYVv2MOh5kwys-JrF5c&e=> solicits multiple voices—academics, curators, artists—to respond to the provocation: “There’s no such thing as British art.” A discussion board allows readers to add their own comments and responses. For its cover<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D3e4b1cbafe-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=XI1cyedz6o3mrvBQyTu_U6-4GnLFYQIptMhcEHsugp4&e=>, British Art Studies presents a series of eight views of works and installations in British Art Show 8, developed with the artists and curators. In creating British Art Studies, we have constantly asked ourselves what is possible on a digital platform that cannot be done in print. We hope that you will find British Art Studies an exciting, stimulating, and refreshing response to this question. Explore Issue 1<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dbd318c1ac8-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=PXl3GUc9menGc1r-8AH4DXiLEQpIDB4yreCn3Xmfrws&e=> [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/e466bbe5-fc08-4c59-b7ae-7687336266a6.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dc80b48a119-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=S19rddF95IJ4dBJ-A-Z8OBUbzMRBH_xqqHaNsVJKBM0&e=> Convened by Richard Johns, respondents from throughout the field of British art history including curators, artists and academics, engage with the provocation ‘There’s no such thing as British art’ through text, image and film. Small clusters of responses are published at bi-weekly intervals to sustain the conversation, and the wider community are encouraged to join in via the comments function. Join the Conversation <https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D54a8db7caa-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=1Hik6EYPNG0MnlvCV8mtvh4aOr_XzYOxgIRzL09RM2A&e=> [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/667bcd1e-06b1-4fbf-b341-e0eab4f1f573.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Df35412a8ce-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=aKDBHkkjjJ1q-EbNCiF_fesQe7MRQbsEYtqYLrBfxPw&e=> “A beautiful assemblage of an interesting nature”: Gainsborough’s Charity Relieving Distress and the Reconciliation of High and Low Art<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dc4aea8233f-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=P60nSFaOVF_g7ktlBvf08wH5D6fYMsj3IZOlOvGJUVE&e=> by Georgina Cole [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/270a5298-25ce-40c1-9b2d-a027ffcbd206.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Da147adb476-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=BHKAlxFAaXtqgyUX9ueHq4Y_XDSwl__9-6xqu-8s5mU&e=> Painting that Grows Back: Futures Past and the Ur-feminist Art of Magda Cordell McHale, 1955–1961<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Defd121fd27-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=8qJAuD5BCKGhUfSBRFmzrjVleHVZaIAKaZtwvrdQzs8&e=> by Giulia Smith [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/d2f68e40-082b-46db-83f1-002b392efe24.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Ddc3b26a041-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=Bz4EUZE44DvwUJjArDa6S03JMJKIZgswb9i7upLzs-M&e=> In this series of short films<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Db7bbda5669-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=GjGJUVYYSccugphX-EKsLM8StDlVRhWm7Hhoasn_CkY&e=> made by Jonathan Law, the art historian James Boaden, and the curator of The John Deakin Archive, Paul Rousseau, discuss the double exposure images made by the photographer John Deakin in the 1950s and 1960s. The Look First<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D9f5c2ce3aa-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=mca96JtdT7dzuu1qkE4XJOY0K8Knw6ltdNZNHv4PRoY&e=> feature represents a different kind of article to its companions in British Art Studies; one that is preeminently visual and necessarily collaborative, and that is made possible by the digital format of the journal. [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/349e8350-da52-42cd-91e3-fd201b4e5b46.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D7b8909e063-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=GoxSbcQO_qnVu7-329LwgxKaqgVHdLZd_9Fvg1vyJT4&e=> Arts and Crafts Painting: The Political Agency of Things<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dad66167db2-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=O2ugpeVr8gXDohjtTmjePMWV8b-z0Ju76RlzPtrBuyg&e=> by Morna O'Neill [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/79f7dc73-1b97-4878-bdb8-2e25cb53dab2.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dc8caa8b7ac-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=kDlEGKQ48fOV0F-l5PIw2bFnlj9uogDvWqZ9e3N_5SI&e=> Pregnant Wit: ingegno in Renaissance England<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D57483da3ce-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=ejRWUG10qNvsSOXvnwlW3Hb4BkqFjCfJU0SUxAz0YBQ&e=> by Alexander Marr [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/a51b3709-7745-4be0-8348-b9386d005942.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage2.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dc75f30d5cf-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=AUY8kXRsYmH_FCa1-iwLk4pJ7NnSA9z-hGVxM9mHmE4&e=> In this feature<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D421358832c-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=dpJc1W9r4g5SYA6FgCg_z6cIK7-ZBgLLShpZFsXK4bU&e=>, Cyra Levinson and Chi-ming Yang engage with issues such as Blackness, legacy, and display surrounding Francis Harwood’s 1758 Bust of a Man. The article is accompanied by an interview and photo essay by the artist Ken Gonzales-Day. [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/d75538a3-adb1-416d-b25d-0764d3625d13.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D77b7fd0146-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=pg5T6ab4X7lbw6g99k2n6rn0VBrv5Nl4H27JLcCRZ1s&e=> Varieties of Photographic Experience: Frederick H. Evans and the Lantern Slide<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D5af8b3ce54-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=5C_lbkJPazHo6grb21aQLMEWBjs7EQS77ckulbNCyy8&e=> by Kara Fiedorek [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/ffdfde1c-fea6-47ff-bda7-d10c1706d619.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dd3295b9220-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=U6745gqzvKybZe67qPuLJHLInv37jYnAUck6FyjMdJg&e=> Abstraction’s Ecologies: Post-Industrialization, Waste, and the Commodity Form in Prunella Clough’s Paintings of the 1980s and 1990s <https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Da1ddc4e9a8-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=v-pS4co3wyBwJPQl-umK-1AHvLIUAQQc8TgizbX5zfg&e=> by Catherine Spencer [https://gallery.mailchimp.com/061278c21d0c3cbb1a8bb039b/images/ec4d203e-609c-42d6-a2ec-49184aad8f3b.jpg]<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3Dc8687d7fe2-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=H9JFnYcNX5L0YhgXvuopnB605oLDC4ilR20iMpdyruc&e=> The “cover” of the first issue of British Art Studies plays with the conventions of the traditional cover of a journal or magazine in a collaboration with the Haywood Gallery and the artists exhibited in British Art Show 8<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage1.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D802e986ee8-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=p2N5PdREuEArkI973K-XQkPmLfNyNOCF9JRGaqTyKvo&e=>. In this article<https://urldefense.proofpoint.com/v2/url?u=http-3A__paul-2Dmellon-2Dcentre.us7.list-2Dmanage.com_track_click-3Fu-3D061278c21d0c3cbb1a8bb039b-26id-3D4f88632dc2-26e-3De503d1c6e6&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=d5FRSzirP7H9dc44BMQKztg2XBlSKGDsf-jDVjxtkJY&m=RYghWfzy8BffPzrVqTG7hQWb5DPwxKQhjyANdYk3VjY&s=PFgVxEr63XrHBS-WXvtyseQAG9Zt7DV_RLBGm8Kx26k&e=> Roger Malbert offers an introduction to history of the British Art Show. 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