Reviews of Test Dept, Madli Marje Gildemann, and Heinz Holliger and Marie-Lise Schupbach
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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]
JOHN GREEN appreciates an informative and readable account of the nation state and its current dilemmas, but doubts the solutions this author has to offer
JOHN MCINALLY recommends that this rational, reasonable and devastating case against the End Of Life Bill be read by every serious socialist activist
CHRIS SEARLE urges you not to miss Mark Sanders’ three night residency at Cafe Oto, Dalston, London
JENNY MITCHELL surveys the work of Hurvin Anderson, now a centrepiece of Britain’s white-dominated art establishment, and explores some of the complexities it opens up about British Caribbean identity
SOPHIE STOLL wallows in a fine live recording of old blues-infused folk songs immersed in American blue-collar culture
ANGUS REID and MARIA DUARTE review DJ Ahmet, Redoubt, They Will Kill You, and The Magic Faraway Tree
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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