Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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A painter whose art expressed his social vision
NICK MATTHEWS recommends an exhibition by an artist who was as true to his art as he was to his radical politics
(L to R) Spring: Plum Trees in Bloom, 1877 and Self-Portrait, 1903
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
Pissarro: Father Of Impressionism
Ashmolean Museum Oxford
ACCORDING to the marketing bumf for the current exhibition at the Ashmolean Museum in Oxford, Camille Pissarro is the Father of Impressionism.
I first discovered his art when I was working in London. I loved the Impressionists and so made a trip to the Courtauld Institute where I came across his painting of Lordship Lane Station, Dulwich (1871). This made a big impression (ha!) as at the time I was renting a room in the same Lordship Lane, Dulwich.
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CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
JAN WOOLF wallows in the historical mulch of post WW2 West Germany, and the resistant, challenging sense made of it by Anselm Kiefer
PAUL MACGEE highlights a new series of books that brings together a treasure trove of writings by a Jewish Marxist art historian who offers readers a refreshingly grounded theory of art