STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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The medium was his message
MICHAL BONCZA recommends an exhibition of George Him's designs, revealing his pioneering use of colour and modernist techniques in visual communication
George Him's work
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
WHEN Jerzy Himmelfarb came to Britain in 1937 from Lodz in Poland, he and his partner, the artist, designer and illustrator Jan Le Witt, had a portfolio significant enough to be invited to exhibit by publishers Lund Humphries and have the V&A ask for samples of their work.
There and then, they decided to relocate to England to further their careers and Himmelfarb anglicised and shortened his name to Him, sacrificing in the process the poetry of the family surname which in Yiddish means “colour of the sky.” Jerzy is just plain George in Polish.
With his resettlement, Him brought with him the avant-garde, modernist aesthetics of central Europe to Britain, which this delightful retrospective of Him’s seminal work engagingly catalogues.
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