DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Van Gogh and Britain, Tate Britain
CHRISTINE LINDEY recommends an exhibition revealing the profound sense of humanity in the works by the great painter
Vincent van Gogh - Starry Night, 1888 and Self-portrait, 1887.
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
IN THE only article about Vincent Van Gogh (1853-1890) published in his lifetime, the Symbolist poet Albert Aurier characterised him — in an otherwise complimentary text — as a crazed genius.
This commonly held perception was further dramatised and popularised by the 1956 Hollywood film Lust for Life, which had Van Gogh chopping off his own ear. In fact, the artist only sliced off a sliver during one of his intermittent bouts of mental illness, during which he did not paint, and which only plagued him in the last two years of his short life.
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