STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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A juxtaposition that reveals two Intriguing kindred spirits
(L to R) Miners returning to daylight, Bill Brandt c1936; Pitboys at the Pithead, Henry Moore, 1942
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
Bill Brandt/Henry Moore
Sainsbury Centre
University of East Anglia, Norwich
THE photographer Bill Brandt and the sculptor Henry Moore are two of the giants of 20th century British art. In their very different ways they captured the artistic and social changes that transformed Britain largely as the result of experiencing two world wars.
This major exhibition traces their parallel and intersecting careers. The two artists first crossed paths during the Second World War, when they were tasked with creating images of civilians sheltering in the London Underground during the Blitz.
This exhibition brings together almost 200 works of the two men, including significant sculpture, photographs and drawings, little-known photo collages and original colour transparencies. It reveals the interdisciplinary range of these two artists, exploring how they both responded creatively to British landscapes and communities during the turbulent times through which they lived.
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