Art / Exhibitions

There is a delicious irony here in that the infamous Section 28 of 1988’s Local Government Act specifically prohibited “the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship” and this exhibition, named after the campaign to repeal the act, is overwhelmingly family friendly.

The exhibition marks 50 years since the passing of another piece of legislation — the partial decriminalisation of homosexuality in England and Wales in 1967.

Michelangelo stood at the very pinnacle of the Renaissance. The revolutionary ideas of the Renaissance were based on novel ways of living which in turn gave rise to powerful new forms and techniques of artistic expression.

Child’s Play is a photographic exhibition featuring photos by Mark Neville that focus on the nature of children’s play.

The exhibition has a very clear message that children should have more unstructured space in which to play freely. There are some very attention-grabbing photos taken in an adventure playground in Tottenham where children are able to explore and play.

This exhibition looks at key moments in the development of art from the French Revolution to the Second World War.

The main subject matter of European art from the 15th century onwards had been the ruling classes and their possessions. Realism had been the dominant artistic form. However, the successive political upheavals of the 19th century encouraged the spirit of rebellion in the arts.

An exhibition marking the centenary of the Russian Revolution and its art should be a celebration of one of the most innovative periods in the history of the visual arts and humanity. Instead the Royal Academy has produced a stolid exhibition without any sense of what the revolution overthrew. Also it is supported by modern Russian art collections, which bolster the narrative of communism as dictatorship.

Trotsky said of 1917, “The revolution is, in the first place, an awakening of human personality in the masses — who were supposed to possess no personality…”

Prior to the Barbican’s latest exhibition, Boom for Real, I knew very little about Jean-Michel Basquiat beyond the fact that he was black, hung out with Andy Warhol and died at the age of 27. Like most casual observers then, I was astonished when one of his untitled portraits sold for $110.5 million (£85 million) at Sotheby’s earlier this year.

“Tripe, clogs, going to the dogs, Wigan and Blackpool tram, Brass bands, butties in yer ’ands, whippets and next door’s mam” — Victoria Wood’s ditty about a failed singer who finds success by being “Northern” kept running through my mind going round this enjoyable exhibition.

This exhibition is one of the best I’ve ever seen. I’ve visited plenty in my time so that’s a bold assertion but one I make without hesitation.

Taking its title from the first line of The Beatles 1968 song “Revolution”, it leads you on an interactive journey through the years 1966 to 1970, combining art, costume, film, music and propaganda.

As you embark, you are invited not simply to reflect upon times past, but to consider their contemporary relevance and the lessons we can learn for the world we live in today.

This is a timely exhibition of art from second wave feminism, which emerged in the 1960s. By the 1970s artists were using photography, performance and installations as tools for activism. Women’s emancipation and gender equality became a visible part of a wider movement for liberation. Famously the personal became the political.

This is very much in evidence at the exhibition which takes an unflinchingly intimate view of female representation in art and society. Over 200 works by 48 international artists are shown on two levels of the gallery.

The Wellcome Collection’s new exhibition, “Bedlam: the asylum and beyond” asserts a particular take on a central question, the significance of which is easy to overlook due to the sheer volume of thought-provoking material it contains: whether conditions in modern society now require a return to the asylum, albeit a “utopian” one.