The bard pays homage to his two muses: his wife and his football club
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‘I am part of the black community, so I am the black community speaking’
Christine Lindey pays tribute to the great Afro-American artist JACOB LAWRENCE who throughout his painting promoted the interests of his class and race
(L to R) Ironers; Wounded Man
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
JACOB LAWRENCE (1917- 2000) was precocious and prolific and his early critical success continued throughout his long life.
Yet, compared with his white US peers such as Jackson Pollock or Willem de Kooning, who has heard of him?
He was seven years old when his mother became a single parent and, after a few years in a foster home, he moved to Harlem with his mother and siblings where she earned her living as domestic help. The sights, sounds, dramas, joys and hardships of Harlem life would become the main subject of his paintings.
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CHRISTINE LINDEY welcomes a fascinating survey of the work of the communist and socialist artists who founded the AIA in the 1930s