MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
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A purpose to pleasure
Tate Liverpool's exhibition reveals the brilliance of Fernand Leger, one of the great painters of realist political art, says CHRISTINE LINDEY
ABC
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
JOHN GREEN relishes photography that unfolds a longstanding and poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
MARY CONWAY is disappointed by a production that panders – if inadvertently – to Western prejudice against China
JOHN GREEN is fascinated by a history that excavates the enormous role played by agricultural workers in recent times
ALEX HALL recommends a book that places empirical evidence at the heart of understanding racism
FERNAND LEGER (1881-1955) grasped life with insatiable optimism and a passion for ideas. He was born in Normandy to a belligerent cattle merchant who died during his early childhood, leaving an impoverished widow. She apprenticed the 16-year-old Leger to an architect, but, in 1900, he fulfilled his desire to study art in Paris, by supporting himself as an architectural draughtsman.
He had grasped the full significance of the recent revolutionary Cubist and Futurist innovations and used them to convey the modernity of urban life, with its simultaneous cacophony of sounds, speeding motorised vehicles and visual stimulation.
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