Banksy’s identity may have been published – but was the investigation in the public interest, asks PETER BENGTSEN
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‘Effervescent’
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
Tower of Babel, 1982
[Artist’s estate - courtesy of Liss Llewellyn and Three Highgate]
RON JACOBS recommends a book that charts the disparate circumstances that defined the lives of two prominent black Afro-Americans — one a communist, the other an anti-communist
CHRIS MOSS joins the hunt in Argentina for the works of Poland’s most enigmatic exile
SYLVIA HIKINS welcomes a survey of successful contemporary worker co-operatives and economy-based co-operative systems
DAVID NICHOLSON recommends the staging of this Wagnerian classic minus one or two insignificant quibbles
JOHN GREEN relishes the record of a life well lived in the service of the fight for justice and socialism
Twist and Shout
David Evans
Three Highgate, London
EPIC watercolour seems like a contradiction in terms, but that rather genteel medium, stereotyped by English evening classes and the Sunday morning easel was handled with vitality and drama by David Evans (1929-1988).
Resistance in watercolour is a juicy term coined by the exhibition’s curator Alistair Hicks, whose fine essay on Evans in the 2017 Liss Llewellyn Fine Art catalogue (on sale in the gallery) fixes his star in the constellation of post-war British art: among Edward Burra, Peter Blake and David Hockney.
Further back we find soulmates in Turner and Samuel Palmer in his landscapes. Well yes, male artists all, but at least pointing up that watercolour has balls.
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