Reviews of Habibi Funk 031, Kayatibu, and The Good Ones
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Van Gogh and Britain, Tate Britain
CHRISTINE LINDEY recommends an exhibition revealing the profound sense of humanity in the works by the great painter
Vincent van Gogh - Starry Night, 1888 and Self-portrait, 1887.
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
IN THE only article about Vincent Van Gogh (1853-1890) published in his lifetime, the Symbolist poet Albert Aurier characterised him — in an otherwise complimentary text — as a crazed genius.
This commonly held perception was further dramatised and popularised by the 1956 Hollywood film Lust for Life, which had Van Gogh chopping off his own ear. In fact, the artist only sliced off a sliver during one of his intermittent bouts of mental illness, during which he did not paint, and which only plagued him in the last two years of his short life.
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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
CAROLINE FOWLER explains how the slave trade helped establish the ‘golden age’ of Dutch painting and where to find its hidden traces
The Morning Star sorts the good eggs from the rotten scoundrels of the year