MARIA DUARTE, JOHN GREEN and ANGUS REID review Power Ballad, Landmarks, My Mother’s Wedding, and Fairyland
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Visual arts round-up 2022 with Christine Lindey
(L to R) Kathe Kollwitz, Woman with Dead Child, 1903; Vincent van Gogh, Self-Portrait with Straw Hat, August - September 1887
[(L to R) Kathe Kollwitz Museum Koln Public domain Van Gogh Museum Amsterdam]
GORDON PARSONS is disappointed by Kenneth Branagh’s lightweight Prospero in an ambitious rendition of the play
Chris Searle speaks to bassist PAUL ROGERS
MARJ MAYO recommends a well illustrated and very positive account of an extraordinary period in local government history
RITA DI SANTO takes us through the prize winners, and takes the temperature of a festival that prioritised narratives of exile, state violence and class division
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
INSPIRED curating at the National Gallery managed to provoke a multitude of ideas by juxtaposing just two life-size portraits — Jean Auguste-Dominique Ingres’s Madame Moitessier of 1856 and Pablo Picasso’s Woman with a Book of 1932.
The contrast between the arch-traditionalist and the quintessential modernist embodied the cultural and social change from France’s 19th-century bourgeois rule and values to the progressive ones of the first decades of the 20th century.
Ingres’s portrait being commissioned by her father-in-law, a minister of state, Picasso’s painting being a non commissioned portrait of his current young partner. Yet Picasso paid tribute to his predecessor by choosing to pose his sitter to echo that of Ingres’s portrait.
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MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
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
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright