The bard pays homage to his two muses: his wife and his football club
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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
MARY CONWAY is disappointed by an incoherent show that fails to question stereotypical assumptions about the Soviet Union
JOHN McINALLY welcomes a rigorous class analysis of the history and exploitation of sectarianism by the Scottish ruling elite
WILL STONE, JAMES WALSH and MARIA DUARTE review Souleymane’s Story, Sunlight, Good Fortune, and After The Hunt
ALEX HALL recommends an exhaustive investigation of the means by which the Starmer faction assassinated the left
DAVID MORGAN recommends a refreshingly inspiring novel that features encounters with some tremendous women
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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