Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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An elevating sermon
In Theaster Gates’s work the spiritual and the utilitarian are inescapably conjoined to offer comfort and hope, believes MICHAL BONCZA
(L to R) Future Walls 2015-16; Chorus, 2016
[M Boncza]
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
Theaster Gates: A Clay Sermon
Whitechapel Gallery
CLAY SERMON is what it says it is – a measured, uplifting visual oration on the constructive companionship humans and clay have had in the last century or so.
In the wide open square spaces of the Whitechapel gallery two dozen or so works illustrate Theaster Gates’ spiritual and utilitarian creative range.
Humans and clay got truly acquainted in the Neolithic period –about 13,000 years ago – which is often referred to as the Age of Clay. Rather surprisingly this coming together manifested itself almost simultaneously across the entire globe and, with very few technological adjustments, has served us well until the present.
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