The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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A woman of peace and the people
Jenny Farrell pays tribute to the great German artist and sculptor KATHE KOLLWITZ
JOHN GREEN explores the argument that psychiatry needs to move away from the idea of just seeing and treating the individual
SYLVIA HIKINS applauds a polemic against “cleanfluencers” and considers radical alternatives to current inequalities of housework
RUTH AYLETT admires the blunt honesty with which a woman’s experience is recorded, but detects the unexamined privilege that underlies it
IAN SINCLAIR draws attention to the powerful role that literature plays in foreseeing the way humanity will deal with climate crisis
High quality pulp, rollicking online murders, Abnorman Britain, and high skates drama: reviews of The Get Off, Everyone In The Group Chat Dies, Pagans and First To Fall
DENNIS BROE notes what happens to content when the streaming giants incorporate AI and deregulation into their economic models
KATHE KOLLWITZ’S work reflects the events of the first half of the 20th century yet she continues to stand tall among anti-war artists and champions of the dispossessed of the present time.
Kollwitz broke completely with bourgeois aesthetics and made the subjugated and humiliated working class her sole artistic subject. Her work eloquently expresses the force, resistance and humanity of this class. Very often, she focuses on individuals or small groups who exemplify the fate of thousands, balancing their misery with dignity and human kindness.
This year marks the 150th year since her birth in Kaliningrad. The daughter of a bricklayer who recognised his daughter’s artistic talent early on, she was barred from studying art as a woman in her hometown and moved to Berlin and Munich to pursue her education.
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