The bard gives us advance notice of his upcoming medieval K-pop releases
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Visual time capsules
MICHAL BONCZA sees an exhibition of photography that offers intriguing glimpses of Britain
(Left) Untitled, (Right) Untitled
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
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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The Morning Star sorts the good eggs from the rotten scoundrels of the year
JOHN GREEN marvels at the rediscovery of a radical US photographer who took the black civil rights movement to her heart
JOHN GREEN appreciates two photobooks that study the single room of a homeless hostel resident, and a council estate in Exeter
HENRY BELL steps warily through the collection of a Glaswegian war profiteer to experience his collection of Degas’ remarkable images of working people