MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
Lowry of the lens
Peter Mitchell's photography reveals a poetic relationship with Leeds
(L to R) How many Aunties?, Back Hares Mount, Leeds, 1978; Max Babbin, Vulcan Street, Leeds, 1979
[Peter Mitchell]
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
Evidence points to a Scottish provenance for the extraordinary Irish illuminated manuscript, the Book of Kells, suggests RACHEL MOSS
CHRIS SEARLE relishes an account of the years when a black American music carried a message of anti-racism and class struggle
This stunning film about a Bulgarian textile worker highlights the exploitative nature of Euro-capitalism, says RITA DI SANTO
PETER MASON thrills to Irish folk band The Haar
Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Peter Mitchell: Nothing Lasts Forever
The Photographers’ Gallery, London
PETER MITCHELL (born 1943) is widely regarded as one of the most important early colour photographers of the 1970s and ’80s. This important exhibition is dedicated to his work.
He is a self-effacing artist, coming across in interviews as rather Lowry-like: naive, unideological and uncomplicated. Taking photos, or as he says “taking pictures” is simply a necessity for him.
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