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APURBA CHATTERJEE explains how British artists in India used the “picturesque” to reshape colonial landscapes and celebrate imperial power
Christine Lindey's art exhibitions of the year
PAUL DONOVAN welcomes a revival of Reginald Rose’s classic play that reminds us of the fundamental need for trials with juries
SIMON PARSONS applauds an exceptional performance of Wesker’s little-known play, by the same actor for whom it was written 45 years ago
ANDY HEDGECOCK and MARIA DUARTE review Late Fame, The Death of Robin Hood, Leviticus, and Gail Daughtry and the Celebrity Sex Pass
ANGUS REID recommends a uniquely accomplished documentary collage that contemplates our relation to the natural world
GORDON PARSONS enjoys Kant’s ‘mind-boggling’ theory of human reality: that we create the reality we experience
THE centenary of the Russian Revolution provided cultural institutions with a theme which was interpreted in questionable ways.
By far the worst was the Royal Academy’s exhibition Revolution: Russian Art 1917-1932. Favoured by an enviably generous budget and excellent connections with post-Soviet Russian institutions, it gathered an impressive body of art and design, some being virtually unknown in Britain.
But rather than explaining the Soviet artists’ socially committed motivations, a vindictive curatorial approach shamefully contextualised the works in didactic attacks on the revolution’s ideals and achievements, reminiscent of liverish 1920s Russian emigres fretting over their lost fortunes.
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