GEOFF BOTTOMS appreciates the local touch brought to a production of Dickens’s perennial classic
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Postwar Modern: a lovingly created show with touches of the sublime
LYNNE WALSH is thrilled by an exhibition of post-war British art
John McHale, First Contact, 1958
Collection Albright-Knox Art Gallery, Buffalo, New
York, © Estate of John McHale
[Brenda Bieger for Albright-Knox Art Gallery]
MARY CONWAY is disappointed by a production whose design and cartoonish acting overwhelms the close scrutiny of characters
SUSAN DARLINGTON enjoys the raucous familiarity of a traditional topsy-turvy pantomime
RON JACOBS introduces the latest novel by the best writer of US working-class fiction writing today
HENRY BELL is fascinated by the underlying curiosities and contradictions of one of the great poets of the Mediterranean
DAVID RENTON recommends a books that explores the ways in which disabled people are made to feel both of and not part of this world
Postwar Modern: New Art in Britain, 1945-1965.
Barbican
IF Jane Alison does little else in her career, she can look back on this lovingly curated show with pride.
Head of visual arts at London’s Barbican Centre, Alison has been in the job for nearly nine years; this exhibition has been two and a half in planning and execution. There are 48 artists represented, and some 200 works including painting, photography, sculpture and installations.
The curtain-raiser is John Latham’s Full Stop, a monumental piece with its giant black disk. A planet, black hole, an eclipse? One edge gives way to dots emerging — this full stop may not represent an ending, after all.
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