MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Riveted by Rego's realm
Visceral, confrontational and emotionally charged, the retrospective of scenarios by the great Portuguese artist transfixes JAN WOOLF
TROUBLING TALES: (L to R) The Dance (1988) and The Policeman’s Daughter (1987)
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
Paula Rego
Tate Britain, London
FIGURATIVE art has become fashionable again, apparently.
Yet the extraordinary Paula Rego probably couldn’t care less. Pushing on through the fashionable Young British Artists era of the 1980s, she has always drawn and painted what she needed to.
Born in Portugal in 1935, she was brought to England by parents opposed to the fascist Salazar regime — God, Homeland and Family was one of its guiding slogans and the Female Portuguese Youth was set up to train girls for domesticity.
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