DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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George Fullard: Human Tender, Pangolin Gallery London
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
PANGOLIN’S intimate space is the ideal setting for this retrospective of work by one of Britain’s most important, if sadly neglected, British sculptors.
Sheffieldian George Fullard’s work has both a succinct realism, with its stunning fluidity and clarity of form, as in Three Women, and an equally assured grasp of assemblage, epitomised by Pregnant Women.
Fullard had an optimistic disposition to fellow humans and, a rarity among sculptors, a sense of humour — best exemplified by the comically ponderous and visibly inept Phoenix with wrenches for legs and forks for wings.
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ANDY HEDGECOCK and MARIA DUARTE review The Ceremony, Eddington, The Life of Chuck, and The Thursday Murder Club
Despite an over-sentimental narrative, MICHAL BONCZA applauds an ambitious drama about the Chinese rescue of British POWs in WWII