STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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Lowry of the lens
Peter Mitchell's photography reveals a poetic relationship with Leeds
(L to R) How many Aunties?, Back Hares Mount, Leeds, 1978; Max Babbin, Vulcan Street, Leeds, 1979
[Peter Mitchell]
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
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
Peter Mitchell: Nothing Lasts Forever
The Photographers’ Gallery, London
PETER MITCHELL (born 1943) is widely regarded as one of the most important early colour photographers of the 1970s and ’80s. This important exhibition is dedicated to his work.
He is a self-effacing artist, coming across in interviews as rather Lowry-like: naive, unideological and uncomplicated. Taking photos, or as he says “taking pictures” is simply a necessity for him.
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