MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
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Less is Moore
Henry Moore is one of the most frequently exhibited sculptors in the world. MICHAL BONCZA looks at a revelatory collection of posters that advertised these shows
(L to R) Henry Moore, Sculptures and Drawings, Paris, 1957; H Moore at Kunsthalle, Bern, Switzerland, 1950; Exhibition Hacia el Futuro (Towards the Future) at Centro Wilfredo Lam in Cuba, 1997
[All pics reproduced by permission of the Henry Moore Foundation]
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
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
TO CELEBRATE the 125th anniversary of Henry Moore’s birth the Henry Moore Archive unveiled a fascinating digitised collection of more than 400 posters designed to signal Moore’s many exhibitions through the years.
“It’s a unique resource showcasing Moore’s exhibitions and his international reach. It’s also a fascinating look at the evolution of graphic design over the decades,” said archivist Emma Stower.
Indeed, they range from a standard, if pedestrian, informative notice comprising a photo of a sculpture with some elementary typography to those which exude graphic sophistication and are collectable works of art in themselves.
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