The Bard stands with the Reformers of Peterloo, and their shared genius in teaching history with music and song
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Lowry of the lens
Peter Mitchell's photography reveals a poetic relationship with Leeds
(L to R) How many Aunties?, Back Hares Mount, Leeds, 1978; Max Babbin, Vulcan Street, Leeds, 1979
[Peter Mitchell]
SUE TURNER is fascinated by a book that researches who the largely immigrant workforce were that built the Empire State
MARIA DUARTE and MALC McGOOKIN review Sirat, The Testament of Ann Lee, EPiC: Elvis Presley in Concert, and All You Need Is Kill
STEVE ANDREW recommends a Marxist analysis of the long chains of production that global corporations exploit
MARY CONWAY relishes the period detail but misses the drama in this unsatisfactory dramatisation of the subjugated life of George Eliot
IAN SINCLAIR welcomes a mainstream scholar to the ranks of left-wing critique of US foreign policy
PETER MASON is disappointed that the eponymous Count fails to put in an appearance
Peter Mitchell: Nothing Lasts Forever
The Photographers’ Gallery, London
PETER MITCHELL (born 1943) is widely regarded as one of the most important early colour photographers of the 1970s and ’80s. This important exhibition is dedicated to his work.
He is a self-effacing artist, coming across in interviews as rather Lowry-like: naive, unideological and uncomplicated. Taking photos, or as he says “taking pictures” is simply a necessity for him.
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