The Star's critics ANDY HEDGECOCK and MARIA DUARTE review The Blue Trail, Kiss of the Spider Woman, Colours of Time, Glenrothan
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Postwar Modern: a lovingly created show with touches of the sublime
LYNNE WALSH is thrilled by an exhibition of post-war British art
John McHale, First Contact, 1958
Collection Albright-Knox Art Gallery, Buffalo, New
York, © Estate of John McHale
[Brenda Bieger for Albright-Knox Art Gallery]
CHRIS SEARLE on Mike Westbrook who died aged 90
STEVE JOHNSON speaks to JIM MORAY about an album that marks 25 years since his first
DENNIS BROE observes how cutbacks, mergers and AI create content detached from both reality and history itself
SAHAR MARANLOU explores a novella, newly translated and republished in English that tells the history of Iran through women’s bodies
DAVID NICHOLSON applauds the revival of a joyous production that deals with choirs, competitions and communism
Postwar Modern: New Art in Britain, 1945-1965.
Barbican
IF Jane Alison does little else in her career, she can look back on this lovingly curated show with pride.
Head of visual arts at London’s Barbican Centre, Alison has been in the job for nearly nine years; this exhibition has been two and a half in planning and execution. There are 48 artists represented, and some 200 works including painting, photography, sculpture and installations.
The curtain-raiser is John Latham’s Full Stop, a monumental piece with its giant black disk. A planet, black hole, an eclipse? One edge gives way to dots emerging — this full stop may not represent an ending, after all.
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