Page 116 – a-n The Artists Information Company

Theadora Ballantyne-Way, Concorde Dawn, silkscreen print, 70x100cm, 2019.

Sherrie Leigh-Jones, Moon Over The Plain, screenprint with graphite powder and ink on 300gsm Somerset soft white satin paper with a deckled edge, 38x28cm.

Jamie Holman, Everything Stopped for Top of the Pops and boys keep swinging (foreground, detail), ‘The British Invasion’ at The Exchange, Blackburn.

Jasleen Kaur, Sociomobile, Ford Escort and hand-crocheted doily, ‘The British Invasion’ at The Exchange, Blackburn. Photo Lydia McCaig

Jamie Holman, Everything Stopped for Top of the Pops, 1972 British army ‘snatch’ Land Rover door with mirror ball inside detail mounted on concrete plinth, and boys keep swinging, two 1972 British Army Blankets cut into a suit by Patrick Grant at Community Clothing (foreground), ‘The British Invasion’ at The Exchange, Blackburn.

Jasleen Kaur, Sociomobile (front), Jamie Holman ‘Who are ya?’ (rear left), and Masimba Hwati, Zitye: Second hand Kings (rear right), ‘The British Invasion’ at The Exchange, Blackburn. Photo Lydia McCaig

Julia Crabtree and William Evans installation view of Gullet 2016–21 at the Henry Moore Institute. Photo: John McKenzie

Lubaina Himid, Lost Threads, 2021

Marcus Orlandi, We want pre 2008 levels of chaos, 2020