SUE TURNER is fascinated by a book that researches who the largely immigrant workforce were that built the Empire State
Latest editorial
Blinkers on a dissenting view
Peter Kennard is a brilliantly polemical artist yet his new book reveals the inadequacies of his political perspective, says NICK WRIGHT
MARIA DUARTE and MALC McGOOKIN review Sirat, The Testament of Ann Lee, EPiC: Elvis Presley in Concert, and All You Need Is Kill
STEVE ANDREW recommends a Marxist analysis of the long chains of production that global corporations exploit
MARY CONWAY relishes the period detail but misses the drama in this unsatisfactory dramatisation of the subjugated life of George Eliot
IAN SINCLAIR welcomes a mainstream scholar to the ranks of left-wing critique of US foreign policy
PETER MASON is disappointed that the eponymous Count fails to put in an appearance
MARJORIE MAYO is disappointed by the lack of class analysis in an all-too-plausible account of progressive causes
Peter Kennard: Visual Dissent
by Peter Kennard
(Pluto Press, £19.99)
“IT IS not surprising that photomontage is associated particularly with the political left, because it is ideally suited to the expression of the Marxist dialectic.”
Thus wrote Dawn Ades in her authoritative 1976 book Photomontage, the revised edition of which carries commentary on two of Peter Kennard’s most distinctive assemblies — the 1980 Haywain with Cruise Missiles and his frightening 1982 photomontage Defenders to Death.
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