DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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A painfully beautiful vision without illusions
ANGUS REID ponders the psychology behind the arresting canvases of the working class painter Maurice Wade
Tileries at Westport
[Trent Art]
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
Maurice Wade: Silent Landscapes
The Andy McCluskey Collection
Trent Art, Newcastle
TWENTY-FIVE years before Morrissey, Maurice Wade contemplated the urban cityscape of Stoke on Trent as though every day were like Sunday.
These paintings, “silent and grey,” are the visual midwife of Morrissey’s reactionary miserablism. They render the city as though it were made entirely of ash, and entirely devoid of people. They are painfully beautiful.
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