MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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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
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
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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