Thursday, 28 February 2013

Podcasts: Vice Magazine's Alex Miller on journalism

Editor in Chief of Vice magazine UK talks about his philosophy of journalism, the prevalent tropes of "churnalism"... and what's hot and what's not.

Alex Miller

Vice online.

Podcasts: George Eaton gives advice to trainee data journalists

Editor of the New Statesman's Staggers blog talks about political journalism and the importance of data.

George Eaton

The New Statesman.
George Eaton.
The Staggers.

Reportage: Neil Wallis, a bulwark against Leveson

Former editor of the Sunday People, Neil Wallis, said yesterday that the “statutory underpinning” of press regulation suggested by Lord Justice Leveson is nothing short of “state regulation.” He added that a regulated free press “is an oxymoron.”

During a talk at Leeds Trinity University Journalism Week, Mr Wallis, 60, said that if the government go ahead with Lord Justice Leveson’s recommendations, “it will end 375 years of press freedom.” He added that MPs are the last group of people who should be allowed to regulate on press freedom. He said: ”Believing that MPs can control the press is like believing in Santa.”

Mr Wallis said that Lord Justice Leveson’s recommendations for data protection will make investigative journalism impossible. He said that the Information Commissioner's Office would essentially become a regulator of the press, adding that it would make it impossible to protect sources from the police and other interested parties.

He said, the fact the “more journalists are on remand or bail in this country than in Iran” is proof that there is already a sufficient legal framework in place.

Neil Wallis
In an exclusive interview, Mr Wallis also struck out at Lords who seek to “sabotage” the forthcoming Defamation bill currently being debated. He said: “If the Defamation Act comes in, as drafted by the government, it will be brilliant. If the Defamation Act as sabotaged by an unholy alliance of unelected Lords from the Liberal and Labour party gets in, it will be a disaster for journalism.”

Mr Wallis said that a free press is vital in a healthy democracy because “it holds to account the state, the government and the establishment.” He added: “Free press is about the ability of newspapers to investigate what they want.”

He urged journalists to rally against the Hacked Off campaign which he believes is “funded by self-serving celebrities” who are looking to protect their own interests.

Neil Wallis' talk at Leeds Trinity University Journalism Week, yesterday.

Sunday People.

Wednesday, 27 February 2013

Interview: Curator Sarah Coulson on Yinka Shonibare

Black-winged fairies, fox-headed highwaymen sporting hand-guns and Blackberry phones, and cute aliens in colourful flying machines are among some of the weird and wonderful exhibits currently on show at Yorkshire Sculpture Park.

They are not sculptures in the traditional sense as Nigerian-born British artist Yinka Shonibare works with materials ranging from brightly coloured fabrics to taxidermied fox heads.

The Turner Prize nominee’s work explores the themes of conflict, empire and identity through using African fabrics in unlikely places, from space suits to 19th Century naval uniforms.

Fabric-ation brings together some of Yinka’s most well known works from the past decade, with the addition of new works commissioned especially for the exhibition.

Sarah Coulson, deputy curator at the Yorkshire Sculpture Park, said: “Yinka hasn’t had a UK exhibition anything like this size, which has brought together work from such a wide period of time. It’s an opportunity for people to see how his work has developed.”

Yinka Shonibare, Revolution Kid Fox Boy (2012) (courtesy of the artist)

Yinka, who was awarded an MBE in 2004, questions the snobbishness that can surround art and the prejudices we hold about different types of art. This is why he uses fabrics and colours in his sculptures. Sarah added, “Fabric is traditionally thought of as craft, which is often seen as something separate to sculpture. Yinka deliberately uses fabric to question ‘what is sculpture?’ and why we have these ideas of high art and low art.

“Yinka says that what he wants to do is create things that are beautiful, that people can engage with on many different levels. So you can come and just enjoy the amazing colours, patterns and textures, and the sheer joyousness of the objects that he makes. So you can come and enjoy these objects for what they are.”

The exhibition isn’t just aimed at the art lover, and would be perfect for families or those who are unsure where to start with contemporary art. As well as the black-winged fairies there are richly coloured Victorian costumes, space ships, and two musketeers shooting at each other through a wall of eggs.

Yorkshire Sculpture Park website.
Yinka Shonibare's website.
Yinka's Wiki.
Guardian review.

Podcasts: Top tips for online journalists

BBC Online journalist Alex Moss shares her top tips for online news reporting.

Alex Moss

Tuesday, 26 February 2013

Reportage: Veteran journalist offers tips on freelancing

Freelancers need to “know their market”, according to veteran journalist Martin Kelner.

Mr Kelner is a former columnist for The Guardian. Speaking today during Leeds Trinity University Journalism Week he said that the key to becoming a freelance journalist was pitching original ideas to editors. He said: “Magazines will pay for something if it excites them.”

He added: “It important to read magazines, and to know your market.”

Mr Kelner, 60, now a presenter at BBC Radio Leeds, said that it was important for journalists to build up relationships throughout their career. He went on: “You never know where people will end up,” adding: “If I had an idea I’d pitch it. I pitched to people I knew, people who I’d worked with.”

New journalists looking to start their freelance career face a different set of challenges. He said: “Getting a foot in the door can be difficult – magazines can be such a closed shop.” Journalists should take advantage of their geographical location and their specialist knowledge. He added that it was important for freelancers to make themselves known to as many relevant editors as possible.

Martin Kelner

Responding to a question about becoming an arts and culture journalist, Mr Kelner said: “If there’s something going on locally, stories about cultural events may not have a chance to be covered by a London-based journalist. Introduce yourself to arts editors and send samples of work before you try and pitch to them.”

For those interested in writing opinion columns, Mr Kelner said that journalists “need to annoy 50 per cent of the audience”. He said that columnists like Rod Liddle, Richard Littlejohn and Allison Pearson have made a living from being controversial. But he added: “You’ve got to be prepared to take the brickbats if you write opinion pieces.”

And his final piece of advice: “Always keep a notebook next to your bed.”

Video by Shaun Maloney

Martin Kelner’s homepage.
BBC Radio Leeds
Guardian profile
Twitter: @MartinKelner

Reportage: Business leader urges local newspapers to ‘embrace change’

Journalists need commercial nous to survive in the online world, according to the assistant regional director of the Confederation of British Industry.

Andrew Hebden said local newspapers needed to embrace change or lose out to internet competitors: “Newspapers have been complacent about their business models.”

Speaking at Journalism Week at Leeds Trinity University, he said they had relied for too long on traditional means of generating revenue, adding: “What were once healthy profit margins have now been decimated.”

Mr Hebden, 33, pointed to a resistance by traditional news organisations to embrace changes in society and technology.

Andrew Hebden (photo by Tom Swain)

The former local news reporter, who still writes a column for, added that journalists themselves were also partly to blame. He said: “Journalists need a bit of commercial nous – they’re businesses like any other.”

He said it was a difficult time for newspapers, and that many of them were restructuring and downsizing, but urged caution, adding: “Newspapers need to be sustainable in the long term.”

The key to a sustainable future for local news, according to Mr Hebden, came from “the bridging of the gap between editorial and commercial” aspect of the newspaper’s business.

He said that running campaigns in partnership with businesses was an underutilised way for newspapers to generate much-needed revenue.

Mr Hebden pointed to the Go Green campaign run by The Press and Journal in Aberdeen in 2009 in partnership with Scottish and Southern Energy. The scheme raised £40,000 for the paper, where he worked as business editor and news editor. He said: “If you do it very well, it can be enough to safeguard a newspaper.”

Newspapers must embrace change, and work towards providing news on a variety of platforms if they are to survive.

He said: “Newspapers need to get an online strategy that works – but need to respond to their region’s needs.”

He added that the Newcastle Chronicle’s website focuses mainly on sports news, which has made the website an excellent revenue stream for the paper.

CBI North East
Andrew Heden’s column on NEBusiness
Twitter: @andrewhebden

Sunday, 24 February 2013

Music: Johnny Marr - The Messenger album review

Johnny Marr - The Messenger
When The Smiths split in 1987, front-man Morrissey released his first solo album Viva Hate within six months - it has taken guitarist Johnny Marr over two and a half decades to release his effort, The Messenger.

Granted, he meandered around the indie scene, dipping into projects that interested him, including Electronic, Modest Mouse, and, most recently, The Cribs, but the prospect of a solo album from the man himself is something that many fans of The Smiths have been anticipating for a long time.

The Messenger bursts opens with the indie stomper ‘The Right Thing Right’. The first thing that strikes you about this song is its vitality – this doesn’t sound like the afterthought of a veteran musician looking to cash in on his legacy, but rather feels like something quite fresh and exciting.

‘I Want the Heartbeat’ is dark and urgent, with off-key guitar riffs that seem to swirl with twitchy paranoia around the edges of the mix colliding with an intense driving bass-line that could have been lifted from one of the Libertines’ more punky numbers. The mood is lightened by ‘European Me’, a track held together by an infectious pop vocal melody that could easily find itself on a New Order record – this isn’t a criticism, Marr’s delivery is excellent.

‘Upstarts’ is rather dull and marks a low point on the album with its verse that seems to plod along aimlessly and a chorus that echoes that disco-tinged indie that was all the rage in 2005. Things improve slightly with ‘Lockdown’, but again the music is incredibly generic and doesn’t do anything to showcase Marr’s talent as either a guitarist or songwriter.

The title track The Messenger has been a mainstay on BBC 6 Music’s playlist since the end of last year and is an excellent song. Again, we hear hints of Bernard Sumner’s understated vocal delivery combining with the gentle melodic guitar style of Green-era REM. There’s a great contrast in this song between the sharp guitar stabs of the intro with the laid-back funk of the song’s bass-line. It’s a well-deserving first single.

‘Generate! Generate!’ is bristling with prickly urgency. With stop-start guitars and punchy vocals, it’s a song that instantly grabs your attention. There are elements of this song that could easily fit in with some of The Smiths’ later tracks, but there is a harmonic quality to the song’s chorus that was lacking with The Smiths.

On ‘Say Demesne’ we hear something akin to the scratchy guitar sounds of Modest Mouse. The song is excellent, and Marr gives his strongest vocal performance on the album, with his voice possessing the same rich quality as Richard Hawley. Indeed, the Hawley comparison doesn’t end there; this is a track that could have easily fit onto last year’s Standing At The Sky's Edge, with its epic guitars and echoic keyboards creating an almost otherworldly atmosphere.

‘Sun and Moon’ is held together by a ramshackle bass-line that would make New York feminists Le Tigre proud. It’s a great song that culminates in a crescendo of heavy guitar distortion that verges on white noise. Things get a bit more laid-back with ‘The Crack Up’ – a song that leans a little bit too much towards the bouncy reggae-tinged indie of Hard Fi for my liking. Luckily, there’s enough charm in the song, however, for it not to register as completely dull.

‘New Town Velocity’ is a piece of music that grabs you with its subtlety. On the first few listens, it’s one of those tracks that feel like filler, but its melodies are quite stunning and the chorus sounds better each time you hear it.

The Messenger closes with brash stomper ‘Word Starts Attack’, the music to which sounds as though it could have featured on Franz Ferdinand’s debut, with its tinny guitar riffs and deliberate drum patterns. It’s a pretty decent track, but you feel a little bit disappointed.

There’s a lot of expectation and anticipation riding on this album, and sadly it doesn’t quite deliver. There are a few too many nods towards the mid-2000s indie scene for the album to sound original or even that relevant, but there are some parts of the album that are truly excellent and it is definitely an album that improves with each listen.

What is perhaps most surprising about The Messenger is just how good Marr’s vocals are. He has spent much of his career shying away from centre stage, but his performances in tracks like ‘The Messenger’ and ‘Say Demesne’ make me wish that he’d made a solo album sooner.

Official Johnny Marr.

This article was featured on Sabotage Times and Alternative Music Press.

Thursday, 21 February 2013

Art: Interview with Councillor Bernard Atha about the arts in Leeds

Cllr. Bernard Atha

An interview with Leeds City Councillor Bernard Atha (Lab, Kirkstall) about the arts and libraries in Leeds.

Leeds City Council profile.

Wednesday, 20 February 2013

Games: On video game criticism - 4 of 4

The final part of a deep discussion about the nature of video games criticism with video game critic Critical Mister.
You can read some of Critical Mister's reviews HERE.

Film: The best Best Picture nominees (that didn't win)

The Wizard of Oz (1939)
The Best Picture award is probably the most coveted prize in the Oscars. Each year one film is chosen to represent the pinnacle of film-making, but along the way there have been a number of great films that, although nominated, were never awarded the prestigious title of Best Picture (or its equivalent). Hindsight is a wonderful thing, so let’s have a look at some of the greatest Best Picture nominees that lost out on the day.

The Wizard of Oz was nominated for an Oscar in 1939, but missed out to Gone With the Wind. Though it is undeniable that Gone With the Wind is an excellent film, The film was revolutionary. The story may have taken the traditional hero’s journey narrative in which the main character goes from A to B, triumphs over adversity and learns something about themselves along the way, but in terms of the film’s sheer technical wizardry, The Wizard of Oz deserves high praise indeed. The contrast between Kansas (filmed in black and white) and the enchanted land of Oz (filmed in dazzling Technicolor), must have been absolutely jaw-dropping in its day.

Take a movie like Charlie Chaplin’s 1940 film, The Great Dictator, which easily ranks as one of Chaplin’s most important and daring works: in the final scene, Chaplin breaks the fourth wall and directly addresses the audience. In an impassioned speech, he decries the evils of fascism and the terror of Hitler’s Reich. He urges the audience: “Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines!You are not cattle! You are men! You have the love of humanity in your hearts. You don't hate, only the unloved hate. The unloved and the unnatural. Soldiers: don't fight for slavery, fight for liberty!” Chaplin realised the power of film to communicate with pressing urgency the political ills of the day. Of course, the Academy didn’t see it that way, and awarded the prize to Alfred Hitchcock for the excellent Rebecca instead.

In 1964, Stanley Kubrick’s dark satire Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb lost out to the jolly Pygmalion-inspired musical My Fair Lady. Perhaps it was because Kubrick’s vision was so cutting, and his speculations so close to the lived reality of the previous decade, that the Academy saw fit to overlook it for the prize – perhaps in the fear that they may be accused of communism by a second-wave McCarthyist.

Director Martin Scorsese has seen his fair share of Best Picture nominations which were trumped by seemingly inferior films: Raging Bull, Goodfellas and Casino seem unfairly overlooked. Take Raging Bull, not only is it of the best films of 1980, but it easily ranks as one of the greatest of all time: the story-telling , the acting, the directing – the film is moving, immersive and absolutely stunning.

L.A. Confidential (1997)
There seems to be a trend for the Academy to choose a film which is overblown and sentimental over one that it subtle and thought-provoking. Take the noir L.A. Confidential, a film full of suspense, mystery and intrigue that saw Kim Basinger give the performance of her career and turned a generation of readers onto James Ellroy. The same was also true of 2003’s Lost in Translation, an incredibly sad and understated film that lost out to the huge budget of The Lord of the Rings: The Return of the King. What is perhaps most depressing about L.A. Confidential losing out, is that fact that the Oscar went to James Cameron's Titanic, a soppy love story set on a sinking boat.

There are some cases of course where the decision is not so clear-cut, and deserving movies which probably would have snatched the prize any other year were pitted against harsh competition. Quentin Tarantino’s postmodern masterpiece Pulp Fiction, with its iconic characters and cyclical narrative went against the feel-good triumph-over-adversity social history epic, Forrest Gump. Perhaps there were just too many utterances of the word “muthafucker”, or maybe the Academy weren’t fans of a Royale with cheese, but Pulp Fiction’s impact and influence is immense.

Most recently, we saw a stuttering Colin Firth in the British-feel-good-movie-by-numbers The King’s Speech being named Best Picture over Toy Story 3, a film that ranks comfortably as one of the finest animations ever made. The visuals are stunning, the vocal performances are excellent, the script is moving, the characters are iconic and the soundtrack is wonderful. Just like The Wizard of Oz, when people talk about the most important films in history, the Toy Story series will be up there, though I’m not so sure that The King’s Speech will receive anything more than a footnote.

Oscars official.
Oscars on IMDb.

Monday, 18 February 2013

Games: On video game criticism - 3 of 4

Part 3 of a deep discussion about the nature of video games criticism with video game critic Critical Mister.
You can read some of Critical Mister's reviews HERE.

Oscars: The best Best Picture nominees (that didn't win): The Wizard of Oz (1939)

Over the next few days I'll be talking about some of the best Best Picture Oscar nominees that didn't win the prize. What are your favourites?


Sunday, 17 February 2013

Games: On video game criticism - 2 of 4

A discussion with game critic Critical Mister about the nature of games and game criticism. This is the second part of a four part podcast.

You can read some of Critical Mister's reviews HERE.

Games: On video game criticism - 1 of 4

A discussion with game critic Critical Mister about the nature of games and game criticism. This is the first part of a four part podcast.

You can read some of Critical Mister's reviews HERE.

Saturday, 16 February 2013

Music: Interview with musician Jack Roscoe (@NorthernIntrovert)

An interview with Yorkshire-based musician and producer Jack Roscoe, who produces music under the name Northern Introvert.

He is the person who kindly made the theme music for podcast.

You can hear more of his work HERE.

Art: Interview with artist Ian Wright

Interview with Leeds-based painter Ian Wright about his burgeoning career as an artist.

You can see his online portfolio HERE.

Thursday, 14 February 2013

Art: Interview with Ian Wright

Ian Wright

A Special Time and Place - Oil on Canvas
A Splash of Colour on a Grey Day - Oil on Canvas
New York Sunset - Oil on Canvas
Autumn Moor - Oil on Canvas
Marsh at Sunset - Oil on Canvas
I Interview and photograph by Jon Cronshaw. All artwork by Ian Wright.

To find out more, visit and follow on Twitter @leedsartfist.

This interview was originally published by Leeds Art Scene.

Thursday, 7 February 2013

Music: My Bloody Valentine - M B V album review

When I first heard that My Bloody Valentine were planning to release a new album, my reaction was one of incredulity and tempered excitement. I was hopeful at the prospect of a new My Bloody Valentine record – it has after all been 22 years since the release of their 1991 classic Loveless – but there was that niggling feeling of “I’ll believe it when I see it”. Thankfully, my reservations were unfounded, and My Bloody Valentine released their new album M B V with little fanfare through their website.

Album-opener ‘She Found Now’ is slow and brooding, with gentle whispered vocals, the bizarre twisted distortion and sonic textures that made Loveless so engaging. ‘Only Tomorrow’ offers a departure from the usual surge of noise, and offers up something a little more subdued: laid back beats combine with sumptuous melodies to create something that is both densely textured and spacious in its effect. The guitar sounds as if it is in a state of constant hesitation, like it is striving towards all-out noise, but some unseen force is holding it back.

‘Who Sees You’ brings to mind the bent and twisted sound waves of tracks like ‘I Only Said’ and ‘To Here Knows When’. This track is truly awesome - and I don’t use that word lightly. The interplay between the subtle layers of fuzz-laden guitar, thunderous, echoic drums, and honey-dripping vocals made the hairs on my neck stand on end. ‘Is This and Yes’ treats us to waves of twinkling synths and whispered vocals. It’s a piece of music that pulls you in gently and washes over you like soothing warmth. On first listen, it is easy to dismiss it as filler, but on about the third listen, the subtle genius of the track hits you.

‘If I Am’ drifts around punchy syncopated rhythms and dreamy guitars that pulse like gentle waves. ‘New You’ is probably the most straightforward song on the album, its bass groove and noodling synths reminiscent of some of Brian Eno and David Byrne’s later collaborations. It’s about as poppy as you’re going to get from My Bloody Valentine, and it’s a truly excellent piece of music.

‘In Another Way’ is frantic and layered, with rumbling beats clashing against floods of twisted guitars and orchestral synths. It’s a gutsy piece of music that gives no concessions to the casual listener, and confronts you with an all-out sonic beating. The uneasy listening continues with the minimalist rock dirge of ‘Nothing Is’. It’s hinged around a single guitar loop that builds in intensity. It’s a strange track that leaves you scratching your head, while at the same time pulling your jaw towards the floor.

Album-closer ‘Wonder 2’ throws us into an abyss far beyond the outer reaches of the rock genre. On first listen, it is barely recognisable as a song in the traditional sense, but suddenly the floods of white noise, contorted guitars, and frenetically detailed hypersonic beats hit you, and you find yourself in absolute awe. This is an astonishing track, the possibility of which was only hinted at with tracks like ‘Soon’ and Kevin Shields’s revolutionary reimagining of Primal Scream’s ‘If They Move Kill ‘Em’.

M B V is an exceptional album that keeps its foot firmly in the past whilst simultaneously breaking new ground. It’s a record that I look forward to getting lost in for many years to come.

This article was published by Sabotage Times, Leeds Music Scene and Alternative Music Press.

Theatre: 'Tutters and Shushers' - Popping My Opera Cherry

David Kempster as Iago at Opera North

I don’t claim to be an expert on opera, far from it. My only reference points for opera are an obnoxious moustachioed insurance salesman, a busty Aryan in a Viking helmet, and Pavarotti. My New Year’s resolution is to try new things and force myself out of my comfort zone, so when The Culture Vulture and Opera North offered free tickets to see Otello, I thought “why not?”

Before the performance, we were shown around the backstage area, and got to meet the villain of the play: the dastardly Iago (who I presume was named after the parrot in Disney’s Aladdin), performed by David Kempster. It gave me a fresh perspective to the proceedings, and allowed us to see the theatre from the vantage point of the performers.

Set on an American naval base sometime around the Second World War, Otello is about the excesses of ambition. Iago is the master manipulator, with many of his misdeeds ending in tragedy. He uses passive-aggressive cunning to plant doubt in the mind of Otello about the purity of his wife, Desdemona, as a means to increase his own power.

The vocals were performed in Italian, and I wouldn’t have been able to follow the story if there hadn’t been the English subtitles that were projected on either side of the stage. I’m sure that some opera purists would have seen these as a distraction, but they helped to make the show more accessible to someone who doesn’t speak Italian, or have an in-depth knowledge of opera lore.

What surprised me most was the effect of the performance: it was incredibly physical. While backstage before the show, David Kempster explained that there are no amplifiers in traditional operas; that every sound is made by either the orchestra or the power of the human voice. Without having to rely on the speakers, there was a bizarre sense of three-dimensional sound that I hadn’t experienced at a live performance before. When the chorus was on stage, for example, there were dozens of vocal parts weaving in and out of each other and washing over the audience. There was also the strange detached effect of singers backstage being heard from a distance. Whereas a live rock band may create a wall of sound that bombards you with its loudness, live opera created something more subtle and engaging. Of course, this effect could never translate to a recording.

By the penultimate act I was completely immersed in the performance. In the scene, a broken and distraught Desdemona gave an incredibly fragile and moving vocal performance that was heartbreaking. As the music dropped, a handful of people began to clap. This was met by a dozen or so tuts and shushes which took me out of the performance. The show wasn’t ruined by spontaneous appreciation from a few moved patrons; it was spoiled by a vocal minority of eye-rolling, snobbish elitists. I’m sure that the people who were uncultured enough not to be aware of an arbitrary convention of the genre went away with a bitter taste in their mouths – I know I did.

And here we reach the crux of the problem. Production companies can spend months crafting a performance that is heartfelt and powerful; organisations like Opera North can try new and innovative ways to engage new audiences and make opera more accessible, but the one thing that they can’t change is the one thing that remains opera’s biggest barrier: the minority of the audience who make the rest of us feel unwelcome.

I was only at Otello because of an innovative outreach programme by Opera North to target local bloggers and attract new audiences. The experience laid to waste many of my preconceptions about opera, and for that I applaud Opera North’s efforts. I really enjoyed the show, and I was pleased to have been taken out of my comfort zone, but something really needs to be done about the shushers and tutters.

This article was originally published by Sabotage Times.

Art: Leeds Print Festival offers a weekend of events.

Leeds Print Fair

The second annual Leeds Print Festival hosted a range of events this past weekend at Leeds Gallery, Munro House, York Road, Leeds.

The events included an opening party on Friday 18th, the Leeds Print Fair on Saturday 19th, a series of talks on Sunday 20th, and an ongoing print exhibition.

The exhibition features print-based works by Dan Mather, Marc Ross/Prefab77, Robbie Porter, Sarah Milton and Sebastian Koseda.

The Leeds Print Fair featured ten artists and printmakers from across the country including Karoline Prerrie, Back to Back Press, Ditto Press, Bradley Books and Caroline Pratt.

Talks were given by Alan Kitching, Matthew The Horse and the Print Project on various aspects of contemporary printmaking.

Event organiser, Amber Smith, noted that ‘we are continuing to work with unbelievably talented people so that the hard “second album” has come together, and we have a programme of exhibitions, events, workshops and talks – really, you have got to love print for that.’

The Leeds Print Festival will run until January 27th.

For more information visit, or follow Leeds Print Festival on Twitter @LPF2013 for the latest updates. 

This article was originally published by Leeds Art Scene.