JON BALDWIN recommends a provocative assertion of how working-class culture can rethink knowledge
Bourgeois voyeurism
HENRY BELL steps warily through the collection of a Glaswegian war profiteer to experience his collection of Degas’ remarkable images of working people
Edgar Degas, Young Woman with Field Glasses, 1866-68, detail Public Domain
These are vivid accounts of people’s experiences of far-right violence along with documentation of popular resistance, says MARJORIE MAYO
The Star's critic MARIA DUARTE, JOHN GREEN and ANGUS REID review An Army of Women, Julie Keeps Quiet, The Friend and The Ugly Stepsister
GORDON PARSONS squirms at a production that attempts to update Shakespeare’s comedy to a tale of Premier League football
Above a Gothic bar just down from Brighton station, something spooky is happening, suggests JAMES WALSH
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
MIK SABIERS enjoys the theatrical feminist six piece who have a lot of fun that the audience feeds off as the set rolls on
Discovering Degas: Collecting in the Time of William Burrell
The Burrell Collection, Glasgow
THE Burrell Collection is an extraordinary museum not only because of its stunning and sensitively refurbished building — sheer glass and sandstone set amid lush Scottish woodland in the heart of Glasgow’s Southside — but also because of its focus.
The Burrell is not arranged around any theme, period, school or medium but instead has as its organising principle the taste of a single turn of the 20th century Glaswegian capitalist.
More from this author
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
ANGUS REID recommends an exquisite drama about the disturbing impact of the one child policy in contemporary China
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
