MATTHEW HAWKINS witnesses a contemporary ballet that represents human life as subjected to artificial intelligence
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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
by Marwa Paikan
A misfit couple unhappily ever after, a dead man walking, dodgy journos, and trench art trucking
New releases from Javon Jackson, IZE Trio, and Mal Waldron Trio
PAUL DONOVAN applauds an intriguing multi-layered depiction, dominated by a stunning impersonation of Marilyn herself
EWAN CAMERON marvels at the impossible ambition, realised with dreamlike finesse of translating Italo Calvino to the stage
TONY BURKE speaks to JOEL McIVER, co-author of the biography of bluesman John Mayall
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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