DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Documentary dramas
JOHN GREEN recommends an exhibition of compelling photographic narratives on social and political injustice
Dorothea Lange, White Angel Breadline, San Francisco, 1933 and Drought Refugees, ca. 1935
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
Dorothea Lange/Vanessa Winship
Barbican Art Gallery, London
A DOUBLE BILL featuring pioneering documentary photographer Dorothea Lange and contemporary photographer Vanessa Winship makes for a magnificent feast of images.
Incredibly powerful as they are, they're almost too much to digest in one sitting.
Politics of Seeing is the first British retrospective devoted to US photographer Dorothea Lange (1895-1965), a powerful woman of unparalleled vigour and resilience, who used her camera as a political tool to shine a light on injustice — “the camera is an instrument that teaches people how to see without a camera,” she once said.
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