Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Walter Price: Pearl Lines
Accomplished exploration of the figurative and the abstract
HIGHLY ACCOMPLISHED: It has to rain before you can see where all the leaks are at, 2019
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
WALTER PRICE’S first major institutional exhibition in Britain includes an intriguing group of new paintings and drawings made during lockdown in New York, where he is based.
During that period Price, who is in his thirties and has been exhibiting since 2013, used up whatever materials were on hand in the studio, without ordering in anything new.
That meant he sometimes had to work with the last knockings of his acrylic paints, mixing them with white and producing works dominated by pastel colours.
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KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage
MIKE COWLEY welcomes half a century of remarkable work, that begins before the Greens and invites a connection to — and not a division from — nature
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement