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GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Blinkers on a dissenting view
Peter Kennard is a brilliantly polemical artist yet his new book reveals the inadequacies of his political perspective, says NICK WRIGHT
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
Peter Kennard: Visual Dissent
by Peter Kennard
(Pluto Press, £19.99)
“IT IS not surprising that photomontage is associated particularly with the political left, because it is ideally suited to the expression of the Marxist dialectic.”
Thus wrote Dawn Ades in her authoritative 1976 book Photomontage, the revised edition of which carries commentary on two of Peter Kennard’s most distinctive assemblies — the 1980 Haywain with Cruise Missiles and his frightening 1982 photomontage Defenders to Death.
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