Robert Ford is a visual artist based in London. He is currently working producing an illustrated edition of Karl Marx’s Capital.
This is the text of a speech given by hip-hop artist and spoken-word poet The Ruby Kid at a Workers' Liberty meeting at Goldsmiths University in November 20
Robert Hughes, one of the world's foremost art critics and also author of the best book on Australia's convict-settlement history, died on 6 August.
Review by Belinda Weaver of The Fatal Shore, Hughes's history.
Review by Belinda Weaver of Nothing if not critical, one of Hughes's books of art criticism.
A lively picket line of striking gallery assistants on Friday 27 July was bolstered by Unison and Unite reps from nearby workplaces, as well as activists from the nearby National Portrait Gallery and
I bought tickets back in November for the “Building the revolution” show at the Royal Academy and was given a 10 am admission time.
Lawrie Coombs applauds the work of Newcastle’s Side Gallery
Whatever the vagaries of his political positions and assessments since the early 50s (including a softness on the Stalinist regimes, a huge silence about the Nazi death camps, and a disposition to support essentially feudal resistance movements to capital) John Berger remains an important resource in thinking about the nature of oppression and its relationship to art.
Martin Thomas reviews "Europe without America", by John Palmer.
Clive Bradley reviews "Revolutionary Rehearsals", published by the SWP's Bookmarks.
Stan Crooke reviews "Ireland, the case for British disengagement", by Conor Foley.
Neil Stonelake reviews "Community Architecture", by Nick Wates and Charles Knevvit.
Belinda Weaver reviews "State of the Art", by Pauline Kael.
Rhodri Evans reviews "Mammon and the Pursuit of Empire: the Political Economy of British Imperialism, 1860-1912", by Lance Davis, Robert Huttenback, and Susan Gray Davis.
Gerry Bates reviews "Leninism Under Lenin", by Marcel Liebman.
Bryan Edmands reviews "Thank you, Mr Moto", by John P Marquand.
Alexander Rodchenko, having achieved international acclaim as an avant-garde painter, sculptor and graphic designer, took up the cause of photography in 1924 with novel and thrilling results.
The Arts Against Cuts collective is a group of students, lecturers, artists, cultural workers and those interested in creative resistance, organising in a non-hierarchical structure against both the cuts and the ever increasing use of the arts and culture as a tool of ideological and political control.