GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Best of 2018: Visual arts
BY CHRISTINE LINDEY
Urgent message: Forensic Architecture's Killing in Umm al-Hiran
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
IN 2018, the continuing revival of interest in progressive politics was reflected in artists’ and curators’ greater openness to serious themes.
After being almost forgotten for many decades, the prints of Frank Brangwyn were brought to a new audience by Brighton Museum.
Brangwyn intended his print series to be widely accessible by being much cheaper than unique paintings and his powerful depictions of dockers, shipbuilders, boot makers, woodcutters and bottle washers, while exposing their harsh conditions, honoured their labour without idealisation or sentimentality.
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CHRISTOPHE IMMER of the Morning Star’s German sister paper Junge Welt reports on a Berlin conference on the politics of art and the legacy of Marxist critic Hans Hess
NICK MATTHEWS previews a landmark book launch taking place in Leicester next weekend
SYLVIA HIKINS casts an eye across the contemporary art brought to a city founded on colonialism and empire
Reading Picasso’s Guernica like a comic strip offers a new way to understand the story it is telling, posits HARRIET EARLE