SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
Visions of horror and joy
ANGUS REID welcomes the retrospective of a unique photographic artist for its demonstration of new avenues in British art, and the human insight it delivers
(L) Bosnia Journeys, 1997 - 1998, black and white image projected onto hand painted photographic emulsion on watercolour paper; (R) Flotsam and Jetsam showing Welsby’s reflection in a window, digital colour photograph, 2014
[The Estate of Richard Welsby]
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
The Spaces Between: Richard Welsby
Pier Arts Centre, Stromness, Orkney
AT the centre of Richard Welsby’s work lies a unique account of art in the service of a humanitarian mission in the aftermath of war.
The words are simple, honest and direct. They describe the days and the people encountered during an independent film project in Bosnia in 1997, that accompanied a returning refugee and her need to find both her missing husband, and to grieve, and to begin life again. It was a brief but significant intervention that crossed the paths of several witnesses, and led to a forbidden place: a dank cellar beneath a camp that had formerly been a school.
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