by Carmina Masoliver
For the past few months, the Barbican has been host to Jean-Michel Basquiat’s first large-scale exhibition in the UK, featuring work spanning his whole working life. His premature death at the age of 27 is tragic, yet it is astounding what he managed to achieve in such a short space of time.
Upon entering the exhibition, the first room features some of his early work from the 1981 exhibition, New York/New Wave, which also included work by Andy Warhol, Nan Goldin and William Burroughs. On first impressions, those who aren’t familiar with Basquiat’s archetypal ‘naïve’ or ‘primitive’ style could be forgiven for thinking his art is something a child produce, a criticism all to often laid upon contemporary art. However, for me, art is about both aesthetics and meaning, and art in which technical ability is more obvious, isn’t necessarily more interesting. Basquiat was known to mix supposed ‘high’ and ‘low’ culture in his work, and as his career progressed, so too did its level of detail and scale.
by Candice Nembhard
Shades of Today: Picking Up The Pieces Post-Truth
24th June 2017 – 23rd July 2017
Intense political climates such as Trump’s Administration and Brexit negotiations often mobilise visual, performative and conceptual responses among artists an. In an age of the closely documented and widely circulated, consumers are often inundated with updates and headlines, discussing a breadth of facts and fiction. Centrum’s group exhibition ‘Shades of Today: Picking Up the Pieces Post Truth’ not only addresses this either/or dynamic but looks to physical and online spaces that seek to keep specific narratives hidden from public consumption. The small interactive project space, through smell, image and sound, calls into question our own understanding of agency and accountability.
by Richard Worth
The story goes that Stan Lee was dragging his feet on Marvel’s latest bid to catch up with the Distinguished Competition. He was becoming bored with the monster-matinée mags he made with Kirby and uninspired by the sci-fi parables he produced with Ditko and now his bosses had tasked him with making a book to rival DC’s newest hit, Justice League.
Stan wasn’t one for superheroes. They were too perfect, too unflawed, and too unfit for the hyper-dramatised, purple prose that was Stan’s hallmark. He moped and complained about his artistic integrity, as writers are wont to do, boring all around him until his perpetually patient wife finally told him to get on with it. Continue Reading
by Richard Worth
If you have read my work here at The Norwich Radical and elsewhere (shameless self-promotion, I know) it should be apparent that I enjoy satire. And as reality subtly blends in a dystopian crap-scape, one of the very few plus sides is that the satire game is booming. In addition to the plethora of late night hosts to match personal preference (Colbert does it for me) keeping us informed and helping us to laugh instead of cry, the humble illustration has been holding a mirror up to the corrupt, the cruel, and the incompetent and making them look ridiculous, and they know it.Continue Reading
by Gwen Taylor
How on Earth do I put these feelings into words? I’m sitting here just after finishing Love is Love and I have been utterly floored. 2016 has been an awful year all around, a year where hatred and intolerance appear to have won, and love has been firmly pushed into a corner. One of the most horrific events of the year took place in June at the Pulse nightclub in Orlando. One person took the lives of 49 others who were celebrating their individuality and love in what had always been regarded as a safe space.
Love is Love is an anthology of responses to the shooting published by IDW Publishing and supported by DCComics to raise money for Equality Florida. It contains 144 pages of beautiful stories designed to celebrate love following a tragic event. Each piece is 1-2 pages long and all are incredibly powerful; the sheer number of contributors demonstrates how this horrific event was felt by everyone.