Installation

Danielle Brathwaite-Shirley, I can't remember a time I didn't need you, 2020
A colourful screenprint with a red, blue and yellow patern on a black background, in a white frame.
Cecile Elstein, The Sisyphus Suite, 1979-80
Meg Woods, Condescending Order 1-5, 2015
An abstract bronze sculpture on a plain gray background.
John Farnham, Torso, nd
Layers of cyan, magenta, and yellow hand carved marks form the image of a mans face.
Gwilym Hughes, Salford Faces, 2018
A pink, black, white, and yellow abstract print.
Joey Collins, Gathering of Strangers, 2018
A digital photograph shows Jackie Kay, a black woman with short hair, wearing a black and red paterned shirt.
Claudia Alonso, Jackie Kay, 2015
landscape, semi abstract,
Connal, Penninsula, 1970
Joshua Turner, A Seat in the Shade, 2020
photograph, documentation, Engel's Beard
Dan Walmsley and Jai Redman, Jai Redman In the Studio (b), 2016
photograph, documentation, Engel's Beard
Dan Walmsley and Jai Redman, Jai Redman In the Studio (a), 2016
litho print poster demonstrating print technique, patterns,
Alan Whitehead, Litho, 1979
print poster showing different intaglio printmaking techniques
Paul Ritchie, Intaglio, 1979
chalk pastel drawing of building
Harold Riley, Building by the Railway, Trafford Park - tribute to Edward Hopper, 1976
small landscape, mill
Harold Riley, View of the Acme Spinning Mill, from Barton Moss, 1976
urban, street, alleyway, city, black and white
Harold Riley, Back Entry, Salford, 1975
town, chapel, watercolour
Harold Riley, Old Chapel, Broad St, Salford, 1976
black and white mixed media, window
Harold Riley, Window in Chadderton, 1975
two drawing studies, dental hospital
Harold Riley, Studies in the Dental Hospital, Manchester, 1978
landscape study, colliery, mixed media
Harold Riley, Study of Colliery, Atherton, Spring, 1976
landscape, docks
Harold Riley, Manchester Docks from Mode Wheel 1962
figures, boy and brother
Harold Riley, Boy and Brother in Salford Street, 1977
blue and red, semi abstract, boat
Charles Bartlett, MN33, 1970
rugby players painting
Walter Kershaw, Scrum Half and Prop Forward, 1970
hill, landscape, black and white
Olwen Jones, Over the Hill, 1975
abstract, with repeated drawn pattern
Richard Riley, Untitled, 1980
abstract print, mask or face like
Alan Whitehead, Untitled, 1980
(face and flower) semi abstract print, face and flower
Kip Gresham, Untitled, 1980
print poster using different print techniques, pig, patterns, figures, animal, pigsaw, jigsaw
Michael Green, Pig Saw, 1979
semi abstract, cube, light and shadows
Paul Mason, Interior III, 1979
black and white, semi abstract interior, sketched
Paul Mason, Interior 2, 1979
abstract, furniture
Paul Mason, Lounge 1, 1979
semi abstract, furniture
Paul Mason, Lounge II, 1979
Abstract screenprint, arch, lines, rainbow shape, grey and pink
Pat Eason, Untitled (Grey) chopped, 1980
Abstract screenprint, arch, lines, rainbow shape, grey and pink
Pat Eason, Untitled (Pink), 1980
landscape, silhouette of church, town
Harold Riley, View of St. Luke's Church, Seedley, 1975
abstract print, blue and orange
John Bradbury, Breakwater, 1982
long abstract print, green white and black
Richard Brooks, ...and the nuclear age..., 1981
red apples, branch, fruit, food, nature, tree, red, black,
Ruth Roland, Red Apples, 1975
woman, portrait, pencil, face
John Cavanagh, Beautiful Woman (Hilda), 1991
cinema interior, room
Harold Riley, The Cinema Interior, 1975
portrait of elderly lady
Harold Riley, Hannah Smith, who at 109 was the oldest woman in Britain, 1971
portrait, female
Harold Riley, Alice Fairweather, 1960
manchester view, salford, cityscape, town
Harold Riley, View of Manchester from Salford, 1975
man, figure, body, morgue
Harold Riley, Man from the Canal, 1977
Bird shop, Wigan
Harold Riley, Bird Shop Wigan, 1978
semi abstract interior, black and white, light and shadow
Paul Mason, Interior 1, 1979
Dark print, drinks glass, shadow
Peta Cole, Untitled (glasses), 1980
semi abtract print, blue green, jug and bottle
Peta Cole, Untitled, 1975
Dark black print, jug on table
Peta Cole, Untitled, 1979
Dark black print, jug, shadow
Peta Cole, Untitled, 1979
abstract shapes on gold brown background
Cecile Elstein, Small Offering, 1980
Cobbled Street, Terraced houses
Harold Riley, Street by the Docks, 1977
abstract, green lilac and blue
Richard Riley, Untitled, 1981
abstract, large pink rectangle
Richard Riley, Interior II / Two Screens, 1981
abstract, green lilac and blue
Richard Riley, Interior, 1981
abstract with grid, snakes and ladders, grey
Richard Riley, Untitled, 1979
bright red abstract, splatter
Kip Gresham, All Things, 1981
abstract with figure, circles
Kip Gresham, The Microbe Man, 1981
abstract, orange
Kip Gresham, Reserved for the Dons, 1981
semi abstract, brown, orange
Kip Gresham, Tie, flower, scalpel, 1981
Poster of silkscreen printing, process, abstract, horses,
Kip Gresham, Bradford Printset (Silkscreen), 1980
Semi abstract landscape, brown and green print
Matthew Hilton, Landscape Picture, 1981
semi abstract colourful print, figures, rainbow colour
Matthew Hilton, A Tribute to Benny Hill, 1981
green hedgerow, semi abstract
Adrian Henri, Hedgerow, 1981
black print of one man band with dogs, with text underneath: Jack Hall had a dancing dog band, his dogs were called Jip, Joey, Jim, Jason, Jock, Jeff and Jacob. He played in the pubs, clubs and on the streets
Harold Riley, Mr Hall's Dancing Dog Band, 1980
Landscape
Derek Wilkinson, Winter Reflection - Rydal, nd
man, figure performing, black yellow and blue
Howard Walmsley, Untitled, 1979
screenprint black and white photos, city
S Webster, Images of Bath, 1980
pixellated portrait of male soldier
G. Tucker, Monty, nd
two figure silhouettes, stairs
Tony Heward, Untitled,1981
abstract print in dark brown
Julie Blore, Untitled, 1979
red ladder, dark background
Julie Blore, Untitled, 1980
abstract, blue pink and red, waves
Julie Blore, Untitled, 1980
two figures, dance moves, dancing
Graham Nixon, Natty Casuals, 1980
Two figures dancing, diagram
Graham Nixon, Jive Turkey, 1980
town, bridge, pastel, blue
David Wild, View of Calderdale Burnley, 1987
Large Munich poster, olympics, sports, ' olympische spiele munchen 1972 '
Paul Wunderlich, Munich Poster 1972, 1972
large olympic poster 'olympische spiele munchen 1972' olympics, semi-abstract figure, sport
Horst Antes, Munich Poster 1972, 1972
study of woman, mixed media, figure, flowers. unfinished with paint marks to edges
John Cavannagh, Marguerites, 1983
abstract
Paule Vezelay, Four Red Forms, 1969
male, portrait, head
Harold Riley, Head of Man, 1970
white sky, clouds, trees, field
Phillip Greenwood, White Sky, nd
flag, nude women, crescent moon, star, semi abstract,
Michael Ward, Flag, 1980
salt box. h135xw43.5
Glen Onwin, Red Lion - Salt Box and Skimmer - The Recovery of Dissolved Substances, 1976/1977
watch mechanism
William Home Lizars, Watch mechanism Plate 13 / watch print, nd
landscape, seascape
Bernard Green, Aber Eiddy, Pembrokeshire, 1981
birds, rocks, semi-abstract, brown, cliffs, flight
Clifford Wilkinson, Birds in Flight, 1970
Greengrocer's Shop, monochrome
Harold Riley, Greengrocer's Shop, 1970
sketched figures
Alberto Giacometti, Atelier 60 (seated man and sculpture), 1961
temple, animals, skyline, building, bull, print
Julian Trevelyan, Hindu Temple, 1968
coloured shapes and face, figure, semi abstract
Fernand Leger, La Femme au Foudrier, 1959
architecture, inside priory, windows
Valerie Thornton, Benham Priory, 1978
portrait
Alfonzo Padilla, Estudio Raka Reius I, 1968
needs conservation. green, trees, landscsape
Adrian Ryan, Harlech Castle from Garreg Fawr, 1970
abstract, artists proof
Dennis Hawkins, Como Se Llama Uds?, 1971
geometric abstract, lines, red purple blue
Peter Hedegaard, Untitled (abstract), 1972
peach, street, market scene
Colin Johnson, Market Scene 2, 1972
portrait, reframed, man
Stanley Reed, L.M. Angus-Butterworth Esq. MA, 1950
Duke of Edinburgh, portrait, Chancellor
Harold Riley, Sketch for Portrait of Chancellor (HRH Duke of Edinburgh), 1971
abstract, lines, technology, pastel colours, roads
Eduardo Paolozzi, Selasa, 1975
abstract geometrical
Robyn Denny, Six Miniatures (on Blue), 1975
abstract geometrical
Robyn Denny, Six Miniatures (on green), 1975
study of forest, nature, trees
John Nash, Rendlesham Forest, near Oxford, Suffolk, 1973
Shoot, football, collage, goals, stars
Alan Whitehead, Shoot, 1969
twigs drawing/painting, twigs, branches, watercolour, ink,
Daniel Gleeson, Twigs II, 1971
red yellow and blue, semi abstract, waves, embossed
Carmen Gracia, In the Life's Stream, 1974
Abstract
Dennis Hawkins, Camino Oscuro, 1972
Street Scene of Salford Cross and Market Square, Figure in foreground pushing Wheelbarrow. Half timbered buildings
H G James, Salford Cross, 1850
Semi Abstract, Black and White Birds in flight, Clouds
Berenice Sydney, Sky Flight, 1974
abstract lines, blue, orange, ocean, sunset
Dennis Hawkins, And in the Evening the Ocean Came Towards Them, 1973
Driver in car viewing a motorway accident. Figure by side of vehicle at side of road and speed limit signs visible
Harold Riley, Motorway Accident, M62 Manchester, 1976
Manchester docks from mode wheel. Watercolour wash
Harold Riley, Manchester Docks from Mode Wheel, 1962
Urban Ginnel, Grafitti on brick walls
Harold Riley, The Passageway Graffiti (Brindle Heath), 1976
Stephen Ashdown, Dirt, 2007
A colourful still image from 'Nodes' showing a distorted background with purples, greens, browns, and black and whites. Code, describing sounds sits ontop of the background in white text on pink.
Antonio Roberts, Nodes, 2020
A screenprint with text in the centre reading 'Souvenir of Normandy - Adrian Henri' in all caps. Above this is a scretch of two trees surrounded by grass. And below the text is a reproduction of a french logo. Along the bottom of the print reads 'Printed by the Manchester Print Workshop in 5 editions of 30 impressions on hand made Barcham Green papers, each with a colophon. 1981'.
Adrian Henri, Souvenir of Normandy, 1981
An abstract print depicts a blue diamond on a colourful red and yellow background
Kip Gresham, Lupin Diamond, 1981
An abstract print with thin red 'teeth' on both the left and right, extending horizontally onto a cyan centre.
Keith Richardson-Jones, Counterpoint 2, 1970
A layered, abstract screenprint with a cream-y yellow background. A cresent shaped newspaper cutting and a blue and white patern forma circle in the centre encompasing overlaping shapes of grey, reds, cream and blue. In the lower centre of the design is a simple figure, sat and looking out at the viewer.
Cecile Elstein, A Letter from Mrs Gould, 1981
A painting depicts a view of Salford Quay's where the bulidings along the waterfront are refelcted in the water. The abstracted buildings in greys, browns, and blues run across the middle of the painting, while the sky and refelction surronds them, blue at the top and bottom, turning golden at the centre.
Liam Spencer, Salford Quays (Sunset), 2012
A view of a desolate and destructed post-apocalyptic Media City with an abandoned forklift loader in the centre.
James Chadderton, Media City (from the Manchester Apocalyse series), 2012
A blue-hued snowy street scene shows a group of figures walking up a street lined with redbrick houses towards an illuminated carousel sitting in the top left corner of the image. The scene is viewed from above, as if from the roof of a building in the bottom right.
Harold Riley, The Christmas Roundabout, Salford, 1980
A black and white print shows the artist stood in overlaping triplicate, with his feet apart, holding a pistol at waist height, pointed towards the viewer. He is dressed as Sid Vicious, impersonating Elvis.
Gavin Turk, Silver Triple Pop, 2009
A colourful, overlaping print shows a dotted, orange still-image of Che Guevara from a reel of film, encased in a frame reading 'Tilson' and 'Clip-o-matic' against a black background.
Joe Tilson, Clip-o-Matic Che (Vallegrande Bolivia, October 10th), 1969
A screenprint showing an abstracted dog, with a white face, brown ears, and no features, against a dark navy background.
Gilberte Brilliant, Hausser les Épaules, 1965
A square abstract screenprint in muted earth-y tones, createing overlaping paterns.
Peter Green, Candy Night 1, 1969
R Smallman, Totem, 1970
two gloved hands hold open a book, the pages of which are full of numerical code
Liam Young, Where the City Can't See (Book), 2017
William Mitchell, Untitled, 1966
a sculpture representing a nurturing pose.
Karen Lyons, Iron, 2007
Several chairs are placed in a hallway.
Lizzie King and Craig Tattersall, Allerton to New Adelphi, 2015
A man sits on the ground with a mask.
Rachel Goodyear, Unable to Stop because they were too close to the line, 2006
Sculpture of the head of a bearded man.
Jai Redman, Engels’ Beard, 2016
some squares crossed together.
Gordon Cheung, Home, 2019
Owen Leong, Hole, 2006
An abstract bring of squares of various shades of yellow
He Xiangyu, Untitled (yellow abstract), 2018
This is a black and white photo depicting a lake.
Liang Yue, untitled and C0011 and C0018, 2018
A paper boat and a real boat in front of a blue projection.
Chen Ching-Yuan, the (flare-s), 2013
In black and white picture there are many people pouring into the city with mountains in the background.
Yang Yongliang, Mountains of Crowds, 2016
The picture depicts a girl wearing a robot costume of many colors.
Lu Yang, The Great Adventure of Material World #1, 2019
Red and yellow marks on a black background create an asbtracted depiction of the map where Salford and Manchester meet.
Lu Xinjian, City DNA/Salford and Manchester, 2015
This is a photo of a letter with a few lines written.
Yan Xing, Letter to Mr Robert Peckham, 2012
There are many books made of ceramics on the table in the picture.
Annie Lai-kuen Wan, Lost in Biliterate and Trilingual, 2014
The picture depicts a traditional Chinese landscape in navy blue.
Wu Chi-Tsung, Wrinkled Texture 027, 2015
A woman in a green soldier's uniform lies with her breasts exposed in a pile of red medallions.
Tian Taiquan, Totem Recollection 3, 2007
There are three black rectangles side by side on the screen.
Ma Qiusha, Triptych from The Fog Series, 2014
This is a photograph of a man with his eyes closed and a cigarette in his mouth.
Wang Ningde, Some Days No.03, 2002
A film still, showing a woman looking out of a car window. From the lighting we can assume it is nightime
Noor Afshan Mirza and Brad Butler, The Scar, 2018
The picture shows a man jumping in nature.
susan pui san lok, RoCH Fans and Legends, 2015
There are two hands in the picture, the one on the left makes a fist but shows the pinky finger, and the one on the right makes a fist and shows the thumb.
Kong Chun Hei, Hand Practice, 2017
An abstract sculpture on a light grey background. It includes a large pastel yellow circle base, painted with navy blue squares. The sculpture is an assemblage of clear coloured perspex sheets and small pieces of MDF, in circle and square shapes. The colours are mainly orange, blue and yellow.
Matthew Houlding, New Olympia Building 5, 2012
Brass Art, Shadow Worlds | Writers Rooms’ – Freud’s House, 2016
a bright blue square with a white 'washing line' drawn across the top. A rainbow, folded in half, is pegged on to the line.
Patrick Hughes, Wet Rainbow, 1979
A square paper with rough edges. In the centre a drawing of a heart shape in thick black lines, surrounded with cross hatched lines. In the background, blue and green colours are spray painted.
Jim Dine, A Sunny Woodcut, 1982
A woodcut panel shows a depiction of the artist. The artist has carved the outline of the form into the wood, and used black and white pigments to build in shadow and highlight, particularly on the hands. The right hand touching the figure's cheek, and the left hand clasped round the right wrist.
Albert Adams, Self Portrait, 1958
A colour photograph shows a black person. They have curly hair styled in a bob and are wearing a necklace and earings made from coloured pencil segments, and a dress with a green and yellow floral pattern. They have their nose piereced and visible armpit hair. Their right eye is half obscured by shadow.
Jesse Glazzard, LGBT+ Letters, 2018-19
A print depicting a monkey, atop the shoulders of a figure. Both have their arms crossed in front of them. The monkies hands are tinted pink, the other figure wears a yellow tie with green stripes.
Albert Adams, The Circus (Portfolio of Artists' Proofs), 2006
A white page with small lettering in the centre in black and red ink, reads anagrams of the phrase 'the war on terror'
Thomson & Craighead, The War on Terror, 2016
A print depicting a monkey, atop the shoulders of a figure. Both have their arms crossed in front of them. The monkies hands are tinted pink, the other figure wears a yellow tie with green stripes.
Albert Adams, The Circus (Portfolio), 2006
An intentionally glitched abstract image with multicolour vertical stripes
Thomson & Craighead, Corruption I & II, 2014
A landscape format black rectangle, with a very small image of planet earth in the centre.
Mishka Henner, Selfie, 2017
An expressive drawing depicts a semi-abstracted figure. contrast between blocks of black, and places left blank, define the figure's form. The figure's head is bent in towards a block od darkness, their features obscured, only the ear visible. Their head, torso, and right elbow are represented through gently blurred diagonal lines, suggestive of movement.
Albert Adams, Figure Study, 1977
An expressive drawing depicts an animal, profile, with it's head facing left, walking on all fours. The animal's head has been obscured in a large black blurry smudge. The animal has spots on his front leg, and it's form is defined through the shadows around the joins and limbs. Below the animal is a shadow, and behind the figure, thin delicate verticle lines serve as a backdrop to the animal's form
Albert Adams, Animal Study, 1977
A CRT TV sites on the edge of a black and pink cabinet. Behind, a thin light net curtain allows a soft glow of light into the room. The TV screen is paused, the bottom half is black, in the upper half a pair of eyes and hat are just visible.
SHARP, Dancing with Elvis, 1999-2021
A charcoal sketch shows two figures sat together, their legs appear to be touching, while the space between them forms a V shape. The figure on the left is darker, shaded with soft blurred marks. The figure on the left is depicted through shorter, sharper lines.
Albert Adams, Study for Two figures at Rondebosch Fountain, 2001
A delicate etching depicts a monkey with an open, screaming mouth, and dark eyes. The monkey is attached from the top of it's head, through spindly twisting cables, to a machine behind. A skeleton is turned, profile to the viewer, to control the machine. In the background, the image is framed by a rectangle grid, like a jail cell.
Albert Adams, Skeleton Electrocuting an Ape, Date Not Known
A hand drawn crow sits on barbed wire, against a light pink and blue sky
Parham Ghalamdar, Birds or Borders, 2020
A delicate etching depicts a monkey with an open, screaming mouth, and dark eyes. The monkey is attached from the top of it's head, through spindly twisting cables, to a machine behind. A skeleton is turned, profile to the viewer, to control the machine. In the background, the image is framed by a rectangle grid, like a jail cell.
Albert Adams, Skeleton Electrocuting an Ape, Date Not Known
A print depicting the artist. The torso is turned away at 90 degrees from the viewer, but hte figure, shown from shoulder up, makes looks out towards the viewer. The forms of the face are represented with thin lines, like contour lines, suggesting the high points of the face such as the cheek bones. The eyes are left pale, without irises.
Albert Adams, Self Portrait, 1956
An expresive print depicts a reclining female nude, using painterly fluid lines. The figure lays with her arms above her head, on a pale background. surrounding the nude are soft, organic, darker shapes suggesting an outdoor setting with clouds and long grass.
Albert Adams, Female Nude, 1960
An expressive print depicts the artist. Shown from the shoulders up, the figure faces the viewer. The features are defined using bold, painterly lines. The eyebrows appear to be raised, giving the face a forlorn, weary expression.
Albert Adams, Self Portrait, 1960
There are three orange paper-cut works on the picture, each with the Chinese characters Fu Lu Shou.
Chen Hangfeng, Fu Lu Shou, 2013
An etching depicting the artist. From the shoulders up, the artist is depicted through small, soft lines, looking towards the viewer, with his face turned slightly away. The details of the features are soft, and the right side of their face shaded.
Albert Adams, Self Portrait, 1956
a large white leather handmade shoe with black laces sits on a grey background. Made for a bird rather than a human, it splits into three large toes.
Han Feng, Shoe for Bird, 2012
This is an abstract work made of interlaced lines of different colors.
Chou Yu-Cheng, from Geoff Molyneux Series, 2014
This is a black and white photo of a tall building facing the water outside the window.
Luke Ching, Titanic Hotel Photographs, 2017
A simple monotone print, depicting a stylised self portrait of the artist. The image has a thick black boarder, and shows a round head, with prominent nose, two small eyes, and small mouth. On the cheek there is a large black, vertical smudge and the neck and torso are also depicted by only smudges.
Albert Adams, Self Portrait, 1958
A monotone print depicting the artist. The image looks down at the artist from above, showing his head and shoulders. His hair is parted at the side, and bold lines are used to draw the artists features, including his eyes, nose, mouth, and ear.
Albert Adams, Self Portrait, 1960
A monotone print, with a dark background a simple pale lines, depicts two male figures sat together. The figure on the left appears to be looking down, watching the figure on the right. On the right the figure has a disproportionally large hand. and is sat, with his knees appart.
Albert Adams, Saul and David, 1956
A monotone print using simple lines depicts a wide eyed, harrowed figure from the nose up, looking in through bars above him to see a skull in a dark corner. A bird files above the figure's head, also looking in through one small black eye.
Albert Adams, Prisoner, bird & skull (Incarceration), 1999
A monocrome print depicting a simple figure, riding a horse. The figure and horse both have drawn, skeletal faces, with exposed teeth. The figure has mitten-like hands, and their upper body is depicted by a dark smudge.
Albert Adams, Man on a Rocking Horse, 2001
A charcoal drawing depicting an abstracted locust, using bold, energetic lines and dots. The locust spands the page diagonally, it's head towards the top left corner, and it's tail towards the bottom right.
Albert Adams, Locust, 2001
A charcoal drawing depicts an abstracted locust, using thick, energetic lines, dots, and smudges.
Albert Adams, Locust 2, 2001
Willow Rowlands, A Way of Organising a Pig, 2015
An etching with a dark grey background, depicts an oldfashioned oil lamp burning. The flame at the center is the brightest park of the image, the outlines and details of the lamp redered through dark lines.
Albert Adams, Lamp (Incarceration), 2002
A pencil drawing depicting a shopping trolley, with large, dark, bulky contents. The trolley stands out from the plae background, a square shadow beneath it.
Albert Adams, Laden Trolley, 2002
This is a black and white photo depicting some machinery on the dock outside the window.
Luke Ching, Titanic Hotel Photographs, 2017
A textured etching shows a figure looking downwards towards the left hand corner of the image. He has dark hair, sideburns, a beard and mustache.
Albert Adams, Head (Final State), Date Not Known
A textured etching shows a figure from the shoulders up. The face is blank and featureless,, turning inwards towards the figure's shoulder, depicted in one curved line. The hair is textured and detailed.
Albert Adams, Head (1st State), Date Not Known
This image depicts several police officers standing in a small town.
Cao Fei, La Town, 2014
An expressive charcoal drawing shows two figures, trying to balence on a tightrope. One figure stands doubled over in the centre of the image, while the other sits off to the left of the drawing, facing away.
Albert Adams, Figures on a Tightrope, 2001
A detailed, monotone etching depicts a shaded figure, with a distorted head, obscured with black smudges. A cord trails down from above the figure's head, and circles around above the figure's chest.
Albert Adams, Figure with a Power Cord, date not known.
An expressive etching, depicting faceless figures outlined in black against a natural yellowed background.
Albert Adams, Deposition, 1955
An expressive etching depicts the outlined figures of two naked men, holding long sticks. Their forms are illuminated, surrounded by dark crosshatching.
Albert Adams, Deposition, 1955
A white skeletal digital rendering of an ornate bandstand floats against a dark blue background.
Laura Daly, The Storm Cone, 2021
A pale etching depicts a figure, suspended as if crucified, his body contorted, being attended to by a hooded figure.
Albert Adams, Crucifixion, 1955
Two distorted figures are depicted through thin scratchy lines, black against a natural yellowed background. Harsh lines protrude from the top right corner, pointing towards the figures.
Albert Adams, Crucifixion, 1955
A monotype print with a black background depicting a distorted face with open mouth and pointed nose. The features are depicted through thin white lines.
Albert Adams, Crucifixion, 1960
A monotype print with a black background depicting a distorted face. Thin pale lines show the outline of the figure’s head. The forehead and cheek bones are exaggerated, highlighted white. The face has wide whited over eyes, and an open screaming mouth.
Albert Adams, Crucifixion, 1960
A monotype print depicting Christ on the cross with minimal lines. In the bottom right a figure reaches up towards him.
Albert Adams, Christ with Veronica, 1956
A monotype print depicting Christ on the cross with minimal lines. In the bottom right a figure reaches up towards him.
Albert Adams, Christ with Veronica, 1956
An etching depicting the destorted profile ofa figure, from the neck up, hanging upsidown into the center of the work. The head is boxed in, and lines protrude from the figure's wide eye and open mouth.
Albert Adams, The Prisoner (Incarceration) Cell Window, 2002
Large working drawing of arm or hand, ink on paper pinned together
Albert Adams, Arm (detail of Crucifixion), 1960
a preparatory sketch showing a crouching skeleton of an unknow animal
Albert Adams, Crouching Skeleton, 2004
a preparatory sketch showing a two intertwined figures walking on a tightrope
Albert Adams, Ape on a Man on a Tightrope, 2001
a print showing an ape performing a handstand on a tightrope
Albert Adams, Ape on a Tightrope, c.2000-2006
a preparatory sketch showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man (Study 3), 2001
a preparatory sketch showing a large ape riding on the shoulders of a naked male figure
Albert Adams, Ape on a Standing Man (Study 2), 2001
a print showing an ape riding on the back of a skeletal figure - it's not clear whether the figure is human or not.
Albert Adams, Ape on a Crouching Skeleton, 2004.
a preparatory sketch showing a large ape riding on the shoulders of a naked male figure.
Albert Adams, Ape on a Standing Man (Study 1), 2001
a preparatory sketch showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man, c.2000-2006
a preparatory sketch showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man, c.2000-2006
an etching showing a large ape riding on the shoulders of a naked make figure. The background is a brick wall
Albert Adams, Ape on a Standing Man, c.2000-2006
a rough sketch in charcoal on white paper. The quickly drawn lines show a jumble of limbs and we an vaguely make out a primate figure on the back of a crouching man.
Albert Adams, Ape on a Man on a Tightrope, 2001.
A still from a hand drawn animation - white writing on black background - showing small animal and human figures
Sun Xun, A War About Chinese Words, 2005
a photograph of Jackie Kay sitting for a portrait. The typical photographic studio equipment - lights, power cables and a heater - are all visible.
Rory Mullen, Portrait of Chancellor Jackie Kay, 2015
A black and white photograph of a younger person. They have short dark hair and a short beard and moustache. They're looking straight towards the camera.
Craig Easton Awais, 16, Nelson, Lancashire 2018
an image of a young person, with long way auburn hair. She looks towards the camera.
Craig Easton, Maizi, 16, Runcorn, Cheshire, 2018
a man wearing orange work gloves lies exhausted on a concrete plinth. He is surrounded by lots of hammers whose heads have been smashed to pieces. In his hand he hold a single unbroken hammer.
Li Binyuan, Deathless Love, 2015
a film still showing two people in a dilapidated restaurant, one person is sitting eating and another is standing up
Cao Fei, Haze and Fog, 2013
A preparatory sketch on cream coloured paper, showing the skeleton of a crouching, four-legged animal.
Albert Adams, Crouching Skeleton, 2004
A digital rendering of cheese wheels of various sizes, coated in red, yellow and black wax. They are presented against a pale blue background.
Pat Flynn, Cheese, Cheese Selection and Cheese Hole, 2015
A pencil sketch on cream paper, depicting a headless figure lent upright against a wall.
Albert Adams, Abu Ghraib, 2004
A monochrome computer generated image showing a simplistic figure in the centre of a plain, with the traces of bouncing tennis ball paths
aaajiao, Tennis for None, 2016
Hazel Rebecca Clegg, Untitled Series, 2015
a still from a video, showing a close-up of a person lying on a bed. They are covering their left ear with their left hand
Shen Xin, Warm Spell, 2018
Ryoichi Kurokawa, unfold.alt, 2016
an oil painting of a rural scene
Adolphe Valette, Romiley, 1916
Sarah Hardacre, Forget Mermaids, 2012
Sarah Hardacre, Arms Open to Welcome the Sun, 2012
A photograph of an installation, made up of wooden poles and flag-shaped wooden panels
Darren Nixon, The Awkward Ambassador, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 54, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 45, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 62, 2016
An abstract screenprint showing distorted floor tiles. From a series of 100 unique relief prints, taken directly from the stone flag surface of the derelict 5th floor of Islington Mill.
Maurice Carlin, Temporary Custodians: 53, 2016
A photograph of a projection in a dark room in Salford Museum and Art Gallery. The footage shows an older white man playing the drums inside a professional music recording studio.
Open Music Archive, Everything I Have is Yours, 2019
a photograph of a person, Ruth Barker, reading from a lectern as part of a performance of her work, If this is the last thing that I say
Ruth Barker, If this is the last thing that I say (2018)
a photograph of a person, wearing a blue hoody with paint on it. They are holding up an image of a tower block, which obscures their face.
Chris Paul Daniels and Sam Meech, One Square Mile, 2016
four crystalline cylinders against a white background. Two of them are black and true are beige
Hannah Leighton Boyce, Consequences of progress; remnants for the future (2018)
Mandy Payne, In Limbo (2017)
a film still showing a sunset over an outdoor theatre
Nick Crowe and Ian Rawlinson, Song for Armageddon, 2017
Liam Young and Tim Maughan, Where the City Can’t See, 2016
A close up of a human eye, with black eyelashes and a blue-green iris.
Suki Chan, Lucida, 2016
a brightly coloured scene using the aesthetics of a video game. There are 3 identical figures wearing furry costumes on a stage.
Rachel Maclean, Again and Again and Again, 2016
a semi-abstract oil painting showing an unidentified animal drinking water from a small pond.
Albert Adams, Wild Animal Drinking, 1980
an abstract painting, with shapes resembling a shirt collar.
Louise Giovanelli, Collar IV, 2016
an abstract painting showing shapes resembling a shirt collar
Louise Giavonelli, Collar III, 2016
A black and white film still, showing a man climbing over a thin fence, approximately 3 metres tall. He has reached the top and has one leg over each side.
Simon Faithfull, 0°00 Navigation, 2008
A film still, in colour, showing a white man with short, slicked back cropped hair, reading a document. He is wearing a light brown suit and blue tie.
Declan Clarke, The Most Cruel of All Goddesses, 2015
An aerial photograph showing an oil and gas facility. From this perspective it resembles a computer chip board.
Mishka Henner, Wasson Oil and Gas Field, Yoakum County, Texas, 2013-2014.
an aerial photograph showing an oil field facility. From this perspective the facility becomes abstract, with terrain resembling an abstract expressionist painting.
Mishka Henner, Cedar Point Oil Field, Harris County, Texas, 2013-14
A still from a video, showing a person with a beard and shoulder length hair, in a white labcoat. They are looking into a glass chamber, which is obscured by reflection.
Shezad Dawood, Leviathan Cycle, Episode 1: Ben, 2017
A abstract and monotone etching depicts the twisted forms of figures.
Albert Adams, Abu Ghraib, 2004
An abstracted figure is depicted through incisions onto the board. The figure is sat in profile, with one arm resting on their bent legs, the other under their chin, tilting their head back. The impression of a third arm rests between the two as if in motion. The face has one eye completed blacked out, and one light, the figure has shoulder length hair, and a short fringe.
Albert Adams, Figure Study, 1955
A monotone etching depicting an abstracted and pale distorted figure, leant against a wall, and falling fowards, their feet at the centre front of the image.
Albert Adams, What? and When, 2006
A monotone etching and aquatint depicting the distorted profile of a figure from he shoulders up, hanging upsidown into the centre of the image from above. In the background on the right, a large eye looks in at a barred window. Bold lines show the walls and furniture in the background, and a protrusion from the figure's mouth.
Albert Adams, The Prisoner II, 2002
A monotone etching and aquatint depicting the artist, a mixed race man, looking off towards the left, one hand resting agaisnt his cheek, the other on his chest. The bold outlines of his features, including the side of his face, hair, nose, mouth, and details on his hands apear paler than the rest of the image. The figure appears distorted.
Albert Adams, Self Portrait, 1961
A monotone charcol drawing, depicting a distorted skull floating in the upper left of the page. An upsidown figure, visible from the nose up, with short, curly hair peers through bars in. A bird, only the head and top of it's wings, reaches down towards the figure.
Albert Adams, Prisoner, Bird & Skull
A monotone etching and aquatint, depicting a figure peering around a wall. Their hand grasps the wall, and their dark face peers, just one eye visible, around the corner.
Albert Adams, The Prisoner (Figure Peering Around A Wall), 1998
A monotone etching and aquatint, depicting two locusts mating, one on top of the other in the centre, with a pale full moon in the background to the right.
Albert Adams, Locusts Mating Full Moon, 2001
A lithograph depicting a pale oval face with large blank eyes, the other features are only hinted at through shading, including the long nose, downturned smile, and hollow cheeks. Lines surround the head, suggesting light beams eminating from it.
Albert Adams, Head - Final State, 1956
An etching depicting two disembodied, distorted heads, one looking down at the other.
Albert Adams, The Prisoner (Incarceration), 2002
A colourful oil painting depicting a vase of pink and white lilies with thin green leaves, against a yellow and blue background.
Albert Adams, Lilies, 2000
A colourful oil painting depicting a man with light skin and dark hair from the waist up, slumped forwards on his front. His eyes look down, he wears a dark suit in blue and purple tones, he wears a ring on his ring finger closest to the viewer. A figure stands in the background, on the left of the man, they looks back over their shoulder towards him.
Albert Adams, Portrait of Seigbert Eick, 1958
A colourful oil painting depicting a girl with dark skin sat profile to the viewer but turning and leaning forwards to look directly towards the viewer. Her hands rest over each other in front of her on a red surface, her clothing is pink with a collar, and her arms are exposed. Behind the figure is a colourful, abstract background.
Albert Adams, Portrait of Miss Rhoda Samuels, 1958
An etching depicting two dismembered feet, with a figure peering through a barred window in at them.
Albert Adams, Cell (Incarceration), 2002
An abstract line drawing depcting an ape walking across a tightrope, with one arm extended out in front of it.
Albert Adams, Ape on a Tightrope, 2006
An etching depicting an ape on it's hind legs with it's mouth open.
Albert Adams, Ape Baring it's Teeth, 2004
A colour print depicting a tiled pool with diving board. Ripples in the water are represented by darker blue short curved lines.
David Hockney, Pool Made with Paper and Blue Ink for Book, 1980
an abstract line drawing depicting the head and shoulders of a crucified figure.
Albert Adams, Crucifixion, 1960
an abstract print showing curved, angular shapes in blue, violet, red, green and orange.
Bridget Riley, Carnival, 2000
an abstract geometric painting in green, blue, beige and orange
Bridget Riley, Frieze, 2000.
An abstract print, consisting of curved white lines on a black background
Peter Cunliffe, Grey Poem 1 (CD98), 1990
abstract print in colour, showing swirling patterns in light brown, and patches of yellow, red and blue
Kip Gresham, Happy Cat, 1981
Black and White abstract screenprint, showing three circular patterns and the silhouette of a hand
Kip Gresham, Speed and Magic, 1979
print depicting a busy room, with cats, pigs, and people playing cards. In a pop art style.
Steve Currie, The Pathology of Perception, 1979
John Piper, Hautbois Church, 1983
Colour print showing a view over ploughed fields, with coastline and blue sky in the distance
John Brunsdon, View Towards Beachy Head
A print showing an arable landscape of recently ploughed fields under a clear blue sky.
Michael Fairclough, Predannach Moor, Spring Ploughing, 1970.
Elizabeth Frink, Shearwater, 1975
a colour print showing a cityscape reflected in a window
Brendan Neiland, Millbank, 1974
A print showing a square in venice and the front of a building. There are some stalls to the right of the building, and there is a raised feature in the centre of the square. The building has a large door on the ground floor, and three levels of windows.
Richard Beer, Venice, 1975
Albert Adams, Self Portrait, 1958
A drawing depicting an ape, looking forwards
Albert Adams, Seated Ape, 2006
A drawing in black and white, showing a figure riding a monocycle on a tightrope
Albert Adams, Monocyclist on a Tightrope
A black and white image showing a lit oil lamp on a table.
Albert Adams, Lamp (Incarceration), 2002
a print depicting an ape doing a handstand on a tightrope. Around the ape there are dots of various colours.
Albert Adams, Ape on a Tightrope, 2006
a black and white drawing depicting an ape riding on the back of a human figure
Albert Adams, Ape on a Standing Man, 2001
a black and white drawing showing an ape on the back of a skeletal figure. Beneath them are a several human skeletons.
Albert Adams, Ape on a Skeleton over a Holocaust Scene, c.2000 - 2006
black and white drawing showing an ape riding on the back of a four-legged skeleton
Albert Adams, Ape on a Skeletal Figure: Darfur, 2004
an image of a city in Italy in heavy rainfall, there are large umbrellas over tables and chairs, tarpaulins over street furniture, and a small crowd of people gathered in a shop entrance
Antony Barkworth-Knight, Homage to the Rain, 2019
Abstract painting with bright vertical stripes of, teal, yellow, purple, and red, intersected by angled stripes of blue, teal, and purple.
Alan Dickinson, Drawing, 1971.
Harold Riley, HRH Prince Philip, Duke of Edinburgh, 1st Chancellor 1967-90.
An abstract print, with one large bold black organic shape below four smaller ones. Faint black lines surround the shapes. The shapes are aligned with beige pockets of colour, surrounded by two muted shades of blue.
Peter Green, Sea Solar Blue, 1970.
An abstract teal blue print with pale delicate swirls in the bottom left corner, and rectangular shapes in shades of teal, blue, and accenting yellow, warping around a small oval pocket of plain blue in the middle.
Charles Bartlett, Blue Foreshore, 1970.
An etching of a dark body of water meeting a bank halfway up the image. The surface of the water covered in lily pads in different ochre shades. Three large trees stand over the water, with dark thin branches set against a pale sky.
Philip Greenwood, Poolside, 1973.
Alfonzo Padilla, Estudio Raka Reius III, 1968.
An etching with a large, embossed circle in the centre with a natural crinkled texture and thin dark outline. Around the circle is a blank buffer, before thin dark lines run vertically across the images, only disrupted by the circle, ending at a jagged horizonal line in the top quarter of the image. Above this line, the page is blank.
Raoul Lazar, Le Sphere, 1965.
A monotone etching and aquatint depicts a ape, with dark fur, riding the back of a skeletal, four legged creature, while brandishing a tattered dark flag behind it.
Albert Adams, Ape with a Flag on Skeletal Figure, 2004
A blue etching depicts a round white plate on the left, with three white circular objects on it, at the centre bottom of the images is a tall white glass, and on the right, a deep blue vase with a tall neck and large round base.
William Scott, Blue Still Life, 1975
An impressionist painting with thick brushstrokes depicting an autumnal scene with brown bushes and green grass. The trunk of a tree with scant brown leaves stands to the right, two further trees standing in the distance on the left with two houses behind. A fence runs from the left corner to the centre of the painting. Two figures look out over the fence, one dressed in blue.
Adolphe Valette, Figures by a Fence, 1922
A work in charcol and oil depicting a very distorted figure from the shoulders up. The face and twisted features of the figure are obscured by dark smudging.
Albert Adams, Celebration Head: Black and White, 2004
An expressive landscape painting in shades of browns and greys, depicting a town from a far in the centre left of the image, with rolling hills meeting a white cloudy sky in the distance.
Ian Henderson, Ruins, 2009
A monotone etching depicting the artist from the shoulders up, a mixed race man, with his head tilted towards the viewer.
Albert Adams, Self Portrait, 1956
An expressive painting depicting a landscape in shades of browns and greys. The sky is a murky beige with the silhouette of a factory imposed in the distance.
Ian Henderson, The Quarry, 2010
An expressive painting depicting a snowy street, facing green, brown, and grey buildings, with trees in the distance.
Ian Henderson, Back Bombala Street, 2009