MARY CONWAY applauds the revival of a tense, and extremely funny, study of men, money and playing cards
Visual time capsules
MICHAL BONCZA sees an exhibition of photography that offers intriguing glimpses of Britain
(Left) Untitled, (Right) Untitled
MEHDI ACHOUCHE explores the constant fascination of cinema with Marxist alienation from Fritz Lang and Chaplin to Bong Joon Ho
FIONA O’CONNOR steps warily through a novel that skewers many of the exposed flanks of the over-privileged
MARY CONWAY applauds the study of a dysfunctional family set in an Ireland that could be anywhere
MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
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.
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