IAN SINCLAIR reviews new releases from The Beaches, CMAT and Katheleen Edwards
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Ruskin’s vision
NICK MATTHEWS welcomes the Communist Party of Britain’s commitment to culture and suggests that the Victorian critic points the way toward combining social function with beauty
RUSKIN’S VISION: The social housing complex Alt-Erlaa, 1970s, by architect Harry Gluck in Vienna, Austria is centered on the welfare of the residents and includes saunas, indoor and outdoor (roof-top) swimming pools, gyms and other exquisite communal areas
[Jussi Toivanen/flickr/CC] 
RICHARD MURGATROYD is intrigued by a study that asks why the ability to diagnose outstrips the ability to cure
SYLVIA HIKINS recommends a sweeping survey of the world's biggest desert and the people who live there
MICHAL BONCZA highly recommends a revelatory exhibition of work by the doyen of indigenous Australians’ art, Emily Kam Kngwarray
The Bard commutes to work for the first time in 45 years
DAVID RENTON is puzzled by an ambitious attempt to look back on world culture from the future without engaging with or understanding it
RECENTLY I have been delighted to see the Communist Party take the issue of culture more seriously.
Raymond Williams argued that “the Labour Party and the unions had failed throughout even to see the cultural struggle as a major element in all political and economic struggles.”
There is much for Marxists to consider. The founders of Western Marxism, Gyorgy Lukacs and Antonio Gramsci, made huge contributions in this space as did our own Christopher Caudwell.
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The creative imagination is a weapon against barbarism, writes KENNY COYLE, who is a keynote speaker at the Manifesto Press conference, Art in the Age of Degenerative Capitalism, tomorrow at the Marx Memorial Library & Workers School in London
PHIL KATZ applauds the biography of a man of principle that is a vibrant excavation of the radical tradition itself
RICHARD CLARKE applauds the assertion that Western Marxism represents a withdrawal from action to change the world into the academy
SIAN LEWIS draws attention to a tradition of design whose mass production was conceived for the greater good rather than the greatest profit