MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Visual time capsules
MICHAL BONCZA sees an exhibition of photography that offers intriguing glimpses of Britain
(Left) Untitled, (Right) Untitled
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
Jamie Hawkesworth: The British Isles, 2007-2020
Huxley-Parlour Gallery, London
HENRI CARTIER-BRESSON once said: “A photograph is neither taken or seized by force. It offers itself up. It is the photo that takes you. One must not take photos,” adding elsewhere that “it is an illusion that photos are made with the camera … they are made with the eye, heart and head.”
There is ample evidence here that Jamie Hawkesworth fully concurs as the work effectively displays much of the approach advocated by Cartier-Bresson. Particularly noticeable is the uniformly sublime composition, robust in appearance and mostly in close up which mesmerises.
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