RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
Latest editorial
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]
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
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.
Similar stories
JOHN GREEN is stirred by an ambitious art project that explores solidarity and the shared memory of occupation
WILL STONE applauds a fine production that endures because its ever-relevant portrait of persecution
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID