Jimmy watches Countdown and tries to ignore his bills, grief, COPD and frailty. Meanwhile, his carer walks a tightrope between kindness and reality
Latest editorial
Visual time capsules
MICHAL BONCZA sees an exhibition of photography that offers intriguing glimpses of Britain
(Left) Untitled, (Right) Untitled
[Huxley-Parlour]
JOHN FLINT explores the Appleby Blue development, winner of the Stirling prize 2025
GORDON PARSONS enjoys the wealth of wisdom and the clarity of expression from a dialogue between Chomsky and Mujica
GUILLERMO THOMAS enjoys a survey of the current state of the CIA (aka Langley) from an expert and insider of sorts
MARIA DUARTE, FIONA O CONNOR and JOHN GREEN review The Choral, Belen, Dragonfly, and Colossal Wreck
WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
Jamie Hawkesworth: The British Isles, 2007-2020
Huxley-Parlour Gallery, London
HENRI CARTIER-BRESSON once said: “A photograph is neither taken or seized by force. It offers itself up. It is the photo that takes you. One must not take photos,” adding elsewhere that “it is an illusion that photos are made with the camera … they are made with the eye, heart and head.”
There is ample evidence here that Jamie Hawkesworth fully concurs as the work effectively displays much of the approach advocated by Cartier-Bresson. Particularly noticeable is the uniformly sublime composition, robust in appearance and mostly in close up which mesmerises.
Similar stories
Peter Mitchell's photography reveals a poetic relationship with Leeds
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
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