GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
Latest editorial
Instead of a thousand words
LYNNE WALSH’S choice are photographers prepared to focus on the outcomes of the politics of exclusion
(L to R) Juliette Pavy: Spiralkampagnen, 2024. An X-ray showing an IUD – more commonly known as a ‘spiral’ – used during the Greenlandic forced contraception campaign (Spiralkampagnen) from 1966 to 1975; Sebastiao Salgado: Ethiopia, 1984. Draped in blankets to keep out the cold morning wind, refugees wait outside Korem camp. Ethiopia.
[(L to R) © Juliette Pavy / © Sebastiao Salgado]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Sony World Photography Awards Exhibition
Somerset House
THIS is an eclectic showcase of talent, with a few hefty themes emerging, including mankind’s hand in the immolation of our beautiful planet.
Another thread, with some gut-punching images, is the ubiquitous violence against women and girls, and the soaring power of sisterhood, as female photojournalists focus on telling their sisters’ stories.
The star of the show, in many ways, is the amazing Brazilian photographer Sebastiao Salgado, recipient of this year’s Outstanding Contribution to Photography.
Similar stories
As peers prepare to debate reform of the 1861 Offences Against the Person Act, Labour MP Tonia Antoniazzi leads a bid to end the criminalisation of women who end pregnancies at home. LYNNE WALSH reports
MARY CONWAY becomes impatient with the intellectual self-indulgence of Tom Stoppard in a production that is, nevertheless, total class
LYNNE WALSH reports from the Women’s Declaration International conference on feminist struggles from Britain to the Far East
ANGUS REID calls for artists and curators to play their part with political and historical responsibility