DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Beware of the Stendhal syndrome
LYNNE WALSH leaves the gallery saturated to the point of nausea by the overabundance of paintings on display
(L to R) Somaya Critchlow, Figure Holding a Little Teacup, 2019; Lubaina Himid, The Captain and The Mate, 2017-2018
[(L to R): Kalory Photo & Video; Andy Keate]
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
Mixing it up: Painting Today
Hayward Gallery
IT’S fair to say that you currently get a lot of paint for your money at London’s Hayward Gallery.
In fact, there’s paint, as well as oil, plastic, shampoo, plexiglass, sand, nylon, hair gel, broken glass, sandwich bags, mouthwash, and rice.
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MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
LEO BOIX, ANGUS REID and MARIA DUARTE review Night Stage, Two Women, Kim Novak’s Vertigo, and Fuze
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage