DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
Latest editorial
Good, but not great
A retrospective of Lee Krasner's work over-inflates the significance of her contribution to 20th-century avant-garde painting, says CHRISTINE LINDEY
Self-Portrait, c. 1928 and Desert Moon, 1955
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
Lee Krasner: Living Colour
Barbican, London
THE CHILD of Russian immigrants to New York, Lee Krasner (1908-84) bucked the traditional expectations of her stultifyingly strict Orthodox Jewish upbringing, by announcing her decision to become an artist at the age of just 14.
Having persuaded her reluctant family, she studied in various prestigious New York art schools intermittently over many years.
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