If you can get along to Bethnal Green in the next three weeks, I highly recommend a visit to this exhibition of photographs. They document a dramatic period in the history of the East London.
In 1933, Hitler became Chancellor of Germany. In the world of fashion, shoulders broadened and the iconic 1930s shape became established.
This is a remarkable exhibition: Jennie Jewitt-Harris’s intricate collages, built in many cases on a foundation of pencil and charcoal drawings of driftwood, are a delight to the eye.
The AOP was set up in 1968 to publicise the work and protect the copyright of photographers active in the worlds of fashion and advertising.
These dark winter months, when accounts of inappropriate advances are rocking Westminster and Hollywood, are the perfect time for seeking light and sanity in the clean-cut, calm glamour of fashion photographer Louise Dahl-Wolfe.
On the whole, the curators have given the works the space they need and brought a coherent approach to displaying them in relation to each other, which provides the viewer with a largely satisfying experience.
Ryan’s Return: Brian Docherty takes a thoughtful and observant stroll through Sean O’Brien’s sombre version of West London
An exhibition of the extraordinary output of France’s Henri Cartier-Bresson, hailed as the founder of photojournalism and “the eye of the century”. That is true in the fullest sense of the words, given his exceptional ability to see the telling detail, or, in his own words, to seize the fact related to “the deep reality”.
One of the more unlikely joys of Brussels life is the rotating EU presidency. Every six months, a different member of the 28-strong European Union takes on the task of presiding over policy-making. For the citizens of Brussels, it’s a chance for a cultural mini break without the expense and inconvenience of braving the airport.
I first came across the work of Delhi born artist Dayanita Singh in an exhibition and book, Myself Mona Ahmed (2001), a photo-essay about an aging eunuch transsexual (hijra) living in a graveyard in Old Delhi. In this extraordinary body of work – the book contains various different kinds of text alongside the photographs) – one sensed not only compassion, but a collaboration between the person in front of the camera, and the one looking through the lens.
London Grip Poetry Review – John Greening
Stuart Henson reflects on the serendipity that led to the creation of a high-quality artist’s book from Redfox Press which combines photographic images with poems by John Greening