Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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On the warpath
HELEN MERCER casts an experienced eye over an ambitious exhibition that nevertheless contains painful gaps
WHAT'S CHANGED? (L to R) Alexis Hunter, The Marxist Wife Still Does The Housework, 1978/2005; Stella Dadzie’s Motherland, 1984
[(L to R) Tate Britain / Author supplied]
SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
Women in Revolt! Art and Activism 1970-1990
Tate Britain, London
THIS is a significant, high profile and very political exhibition presenting “two decades of art as provocation, protest and progress.”
Chronologically, starting with the first women’s liberation conference in Britain in 1970, it spans second and third wave feminism (the first wave being the suffrage movement of the early 20th century). It ends somewhat arbitrarily in 1990 with a note on the commercialisation of art and the marginalisation of “artists engaged in socially motivated practices.”
For many of us caught up in the debates of the women’s movement in the 1970s the questions the exhibition raises retain much of their fascination and the diversity, awareness, experimentation and rawness of the output is nostalgic and heady. The exhibition is large, detailed and richly repays a visit.
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SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
JON BALDWIN appreciates the way Steve McQueen has curated the evidence of our resistance, and is inspired by their cumulative effect
JOE JACKSON explores how growing up black amid ‘the quiet racism of Scotland’ shaped the art and politics of Maud Sulter
CHRISTINE LINDEY welcomes a fascinating survey of the work of the communist and socialist artists who founded the AIA in the 1930s