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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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)
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
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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