DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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My camera is my weapon
Three internationally renowned female photographers, whose work combines visual innovation, aesthetic brilliance and militancy, talk to JOHN GREEN
Images: Maryam Firuzi; Nowhere Near, Alisa Martynova
[Maryam Firuzi; Alisa Martynova]
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
THEY come from different countries — Iran, Afghanistan and Russia — and each has their own unique way of expressing themselves, but what they have in common is their militancy and commitment to female emancipation and social justice.
Their powerful images are at present on show at the Festival of LaGacilly/Baden — Europe’s biggest open-air photography festival.
Thirty-seven-year-old Iranian Maryam Firuzi did not set out to become a photographer. She has a degree in calligraphy and film studies, has studied art, literature and architecture. Today, she sees herself as an artist rather than “just” a photographer.
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