Fran Bigman lives in New York and writes about literature, art, and reproductive justice. She has a PhD in English from the University of Cambridge, and her work has appeared in the the Times Literary Supplement, Washington Post, Lit Hub, Words Without Borders, and Granta. (September 2018)
David Bomberg’s work, first deemed too radical by many established critics of the time, would later gain the reputation of being too conservative. His shifts in style baffled critics, he was considered an outsider in his own country, and his attempts to serve as an official war artist were largely rejected. A new exhibition offers an opportunity to better understand what was radical about his early work, and demonstrates how his decisive modernism lived on in later work.