DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Lynn Chadwick, Gallery Pangolin
Profound humanism shines through online retrospective of major sculptor's work
(Left to right) Two Winged Figures, 1976; Pair of Sitting Figures, 1973; Two Watchers, 1967
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
LONDONER Lynn Chadwick came into sculpture via architecture, a field he worked in as a draughtsman, and it was the influence of his employer Rodney Thomas that proved crucial.
Thomas was a dreamer and a visionary thinker — “a modest man who didn’t think modestly” — who’d been dissuaded by his uncle from becoming a painter. He was the ideal person to encourage Chadwick’s aspiration.
Chadwick’s lack of formal artistic training was a blessing in disguise, as it was his architectural drawing that “taught me how to compose things,” he once recalled. “I actually wanted to produce a sort of touchable object, a tangible object... I wanted to do it to have some reality in front of me.”
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