by Ananya Wilson-Bhattacharya
If you’re passing through Brixton Market, exploring the vintage clothing stalls or lamenting the overpriced pints designed to rip off tourists, it’s easy to miss the Brixton Recreation Centre, tucked away and accessible only by a remote entrance. But this abandoned-looking building is in fact one of two homes of a fascinating local photography exhibition. The Lost Legacies of The British Black Panthers provides a vital insight into the anti-racist activism of the Windrush generation which is often overlooked in our understanding of twentieth-century British history.
by Jonathan Lee
I am probably not the image most people have in their mind when they think of a Gypsy.
My mother is of mostly Irish-American stock – which gives me a few ginger wisps in my beard, and a smattering of freckles across my nose and cheeks. My hair is dark brown, not black. I don’t wear a lolo diklo (red scarf) around my neck, or a staddi kali (black trilby hat) on my head. Most of the time I wear jeans and t-shirt, I rarely ever dance on tables, and I have no piercings or tattoos. I live in an apartment in the centre of a European capital with a woman whom I am not married to, and I travel only about 20 minutes maximum by foot every day to go to work.
If I ask you to close your eyes and picture a Gypsy in your mind’s eye you probably see someone with bangles and gold hoop earrings, floral patterned clothing, long hair, and dark flashing eyes. They may or may not have a tambourine, and may or may not be wearing a turban with a little gem in the centre holding it up. Maybe you see a fortune teller, or a travelling metalsmith? Perhaps a musician? If you are European, more likely you also see a beggar, a thief, a criminal.Continue Reading
by Carmina Masoliver
content warning: mentions of death, abortion
The last exhibition of Emin’s I had been to was probably She Lay Down Beneath The Sea at Turner Contemporary in her hometown of Margate. For me, what this current exhibition at White Cube lacked in comparison to the previous one was more context to frame the concept of the artwork. Whilst there was an A4 sheet about the exhibition overall, it felt like the viewer was being pushed to form their own meanings. Whilst formulating the meaning of the work is part of the joys of conceptual art, it is always interesting to read or listen to more, particularly for those who are not as familiar with Emin’s work as fans will be able to infer the meaning and links to past work that newcomers can’t access. I also enjoyed the work in Margate more for its skill of embroidery where the stitched looked like paint from afar, whilst pieces in this exhibit lacked this sense of innovation.
by Hannah Rose
Finding the right home for his pictures was a feature of Larry Sultan’s early career. Museums and galleries dismissed his satirical images—which played out an ironic commentary on modern American life—and found themselves on billboards scattered across America instead. Striking and immediate, perhaps they made more of an impact outside gallery walls.
Now Sultan’s photographs can be viewed in galleries including the Solomon Guggenheim Museum and SFMOMA, where his collection Here and Home is on view until July 23rd.Continue Reading
by Hannah Rose
Vote only once by putting a cross (X) in the box next to your choice. My ballot paper reads like a lover’s ultimatum: Leave or Remain. There is no room on my ballot paper to explain, negotiate with, mediate between. All dialogue between us has ended. Now there is only silence lingering like the smell of damp coats.Continue Reading
by Hannah Rose
Art Fair East (AFE) is an annual contemporary visual art event showcasing emerging and established artists from East Anglia and around the globe, hosted by artists, galleries and dealers in St Andrews Hall – Norwich. 2016’s event was a hive of curiosity and arty repartee, with artists and agents on hand to engage and interact with visitors.Continue Reading
by Jess Howard
Content warning: this article contains upsetting images.
In 2015 I wrote an article on an image of a Syrian child’s lifeless body being lifted out of the sea on a beach close to a Turkish resort. The photograph shocked people around the world at the time. It demonstrated the severity of the Syrian conflict, as the child in the photograph, and his family along with him, had been attempting to travel to Greece to seek refuge. September sees the anniversary of the photograph being taken, but how have our attitudes to photography and conflict changed in the past year?Continue Reading