Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
Latest editorial
Good, but not great
A retrospective of Lee Krasner's work over-inflates the significance of her contribution to 20th-century avant-garde painting, says CHRISTINE LINDEY
Self-Portrait, c. 1928 and Desert Moon, 1955
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
Lee Krasner: Living Colour
Barbican, London
THE CHILD of Russian immigrants to New York, Lee Krasner (1908-84) bucked the traditional expectations of her stultifyingly strict Orthodox Jewish upbringing, by announcing her decision to become an artist at the age of just 14.
Having persuaded her reluctant family, she studied in various prestigious New York art schools intermittently over many years.
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This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
JOHN GREEN surveys the remarkable career of screenwriter Malcolm Hulke and the essential part played by his membership of the Communist Party
ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
JAN WOOLF wallows in the historical mulch of post WW2 West Germany, and the resistant, challenging sense made of it by Anselm Kiefer