GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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Artless anti-life
ANGUS REID is unimpressed by the reactionary undertow in an exhibition of melancholic Perthshire landscapes and photographs
(Left) PloughedFfield South Farr and (right) Black Crow by a Stony Path
[scottish-gallery]
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
Philip Braham: Closer to Home
The Scottish Gallery, Edinburgh
PHILIP BRAHAM’S new exhibition is prompted, he says, by reflections on suicide.
In it, solitary trees stand out against poisonous skies, while stony paths wander into the centre of the composition and go nowhere.
The whole enterprise recalls the gloomy romanticism of the 19th-century German painter Caspar David Friedrich, whom Braham cites as a major influence.
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