STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
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The bigot in the hood
JAN WOOLF relishes the shocking candour with which an artist who could paint anything depicted the systemic racism and anti-semitism of the US
FROM ANTI-FASCIST MURALS TO ANTI-FASCIST CARTOONS: Beneath the hammer and sickle of Communism, the first use of the hood motif to designate violent bigotry in the recently rediscovered mural The Struggle against Terror (Against War and Fascism) by Philip Guston, Reuben Kadish, Jules Langsner, 1934–35, Museo Regional de Michoacán, Morelia, Mexico; The Studio by Philip Guston, 1969
[Ruben E. Reyes; Jan Woolf]
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
Philip Guston
Tate Modern, London
PHILIP GUSTON (born Goldstein in Canada, 1913) could paint anything he wanted to. The palette was his oyster. If painters could be heroes he’d be one.
Known latterly for his wild cod cartoony canvases, after the Krazy Kat style replaced the high renaissance style (echoing Pierro De Francesca), the stunning Weimar expressionism If This Be Not I (1945) the abstracts and the figurative muralism, he was his own man; and famous.
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CAL McBRIDE relishes the lyrical truth of an unstable identity in an over-tidy and conventional social realist treatment
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
JAN WOOLF invigilates images that meditate on Palestine, and the people who witness them
CHRISTOPHE IMMER of the Morning Star’s German sister paper Junge Welt reports on a Berlin conference on the politics of art and the legacy of Marxist critic Hans Hess