GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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The golden boy of Soviet art
Alexander Deyneka's dynamic response to the Bolshevik revolution shines through his work, says CHRISTINE LINDEY
(L to R) Ace [fighter pilot] shot down, 1943; In the Donbass, 1925; Football, drawing for Red Niva magazine, 1927
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 1917 Alexander Alexandrovich Deyneka (1899-1969) was just 18 and studying in his native Kursk when the upheavals and excitement of the Bolshevik revolution began.
He soon travelled to Moscow to study at the now celebrated Vkhutemas (arts and crafts workshops) and in this cauldron of aesthetic and political debates he honed his Marxist aspiration to create a new Soviet art.
Deyneka joined Vladimir Favorsky’s graphics and printmaking department, where he learned to respect art theory and to construct his compositions in terms of plane and space.
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