Preferable to Starmer he may be, but there is scant sign of a sharp political break in Burnham’s policies so far — while left challenges aren’t making much of a running either, finds ANDREW MURRAY. How can socialism be put back on the map?
Latest editorial
Messages in mediums
An excellent retrospective of Richard Hamilton's multilayered work reveals an acute commentary on art, politics and mass culture, says CHRISTINE LINDEY
CHARLEY ALLAN reports from Clacton on Farage’s fears his by-election stunt has backfired
JEREMY CORBYN says we should never forget the horrific reality of nuclear weapons, or cease our efforts to rid the planet of them entirely
The new TUC Cymru general secretary speaks to Morning Star Wales reporter David Nicholson about her trade union background and ambitions for the movement
Internationalism is deeply embedded in socialist theory and practice. Examination illuminates its complexity asserts the Marx Memorial Library and Workers’ School
The Claudia Sheinbaum government is no pushover and is holding firm despite US abuses of the relationship, says DAVID RABY
As we approach the grim anniversaries of Hiroshima and Nagasaki, SIMON BARROW sounds the alarm over the dangerous and murderous direction our government is heading
Tate Modern's comprehensive exhibition shows that Richard Hamilton (1922-2011) achieved far more than pioneering British pop art, for which he is best known.
The son of a London car showroom driver, he studied art at evening classes from the age of 12. Too young to be conscripted, in WWII he was directed to an engineering drawing apprenticeship and worked as a draughtsman until 1946.
Resuming his art studies, he was expelled from the traditionalist Royal Academy schools for voicing his admiration of Cezanne. After his national service, in 1948 he found more congenial teaching at the Slade School of Art where there was a Cezannesque emphasis on painting from the motif to establish acutely judged relationships of form and space.
Similar stories
SIMON DUFF is thrilled by a visceral, no-holds-barred exploration of the expressive powers of raw material
JAN WOOLF welcomes the initiative of St Mungo’s, a charity for the homeless, to use use outdoor art to explore the lives of those it has helped
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage