MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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The female gaze
LYNNE WALSH applauds a show of paintings that demonstrates the forward strides made by women over four centuries
Julia Margaret Cameron, Mountain Nymph, Sweet Liberty, 1865
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
Now You See Us: Women artists in Britain 1520-1920
Tate Britain, London
THIS is women’s work: brilliantly creative, tenacious, incandescent with passion, empathetic and rebellious.
There’s a word that crops up, though, in titles and texts: unknown. A portrait shows an Unknown Lady; it’s unknown where some artists trained; some painters had their names misspelled over the years. It’s almost as if no-one were paying attention to their talents.
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While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
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The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
