MARIA DUARTE and ANDY HEDGECOCK review Sunny Dancer, Tony, Songs of Forgotten Trees, and The End of Oak Street
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The fly in the ointment
CHRISTINE LINDEY takes issue with the reactionary agenda of an exhibition of marvellous Russian revolutionary art
JOHN GREEN relishes a powerful and moving drama that explores the lived realities of west London’s Punjabi community
MARTIN HALL welcomes a plea for greater compassion between believer and non-believer via the framework of philosophical enquiry
MATTHEW HAWKINS welcomes an engaging and nourishing account of the queer subculture that flourished in London between WWII and partial decriminalisation
RON JACOBS welcomes the political lessons for today, about organisation and withdrawal from conflict, made by an erudite and conversational biography
IN JANUARY 1918 the Russian Soviet Republic was the first state in the world to officially support the avant-garde.
Fired by the revolution’s socialist ideology, artists rejected the tsarist regime’s fussy forms and fusty techniques, to embrace the latest technology.
They incorporated industrial forms into art, design, architecture and film which epitomised and promoted modernity.
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