SYLVIA HIKINS enjoys a varied Scouse alternative to traditional pantomimes
Latest editorial
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]
Rereleases from The Pentangle, The Charlie Daniels Band, and Cousins and Willoughby
ANDY HEDGECOCK picks out his cultural highlights of 2025
Star cartoonist MALC MCGOOKIN finds lessons for today in the punch, and the economy of line, of an extraordinary generation of illustrators
LEO BOIX, ANDY HEDGECOCK and MARIA DUARTE review Dreamers, It Was Just An Accident, Folktales, and Eternity
JENNY MITCHELL, poetry co-editor for the Morning Star, introduces her priorities, and her first selection
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.
Similar stories
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
JOHN GREEN surveys the remarkable career of screenwriter Malcolm Hulke and the essential part played by his membership of the Communist Party
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
The Morning Star sorts the good eggs from the rotten scoundrels of the year