GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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‘I am part of the black community, so I am the black community speaking’
Christine Lindey pays tribute to the great Afro-American artist JACOB LAWRENCE who throughout his painting promoted the interests of his class and race
(L to R) Ironers; Wounded Man
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
JACOB LAWRENCE (1917- 2000) was precocious and prolific and his early critical success continued throughout his long life.
Yet, compared with his white US peers such as Jackson Pollock or Willem de Kooning, who has heard of him?
He was seven years old when his mother became a single parent and, after a few years in a foster home, he moved to Harlem with his mother and siblings where she earned her living as domestic help. The sights, sounds, dramas, joys and hardships of Harlem life would become the main subject of his paintings.
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