DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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A warm welcome for the new and much-needed international front for radical artists
Great oaks from little acorns grow: the inauguration of IAF
[International Art Front]
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
ALMOST since the day the fight for socialism became organised, artists in Britain have looked for ways to use their talents in the aid of this great vision.
In the 1930s Alan Bush founded the William Morris Music Society as an organisation for artists to discuss politics and music and how they work together.
Similarly, in 1933, thanks to Pearl Binder, Clifford Rowe, Misha Black, James Fitton and others, the Artists’ International Association was formed which sought to promote “unity of artists for peace, democracy and cultural development.”
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