STEVEN ANDREW is moved beyond words by a historical account of mining in Britain made from the words of the miners themselves
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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
CAILEAN MCBRIDE welcomes a refreshing and timely study of the way officialdom creates structures that exclude LGBT+ rights and humanity
The bard mourns the loss of comrades and troubadours, and looks for consolation with Black Country Jess
CHRIS MOSS relishes the painting and the life story of a self-taught working-class artist from Warrington
MARY CONWAY is disappointed by a star-studded adaptation of Ibsen’s play that is devoid of believable humanity
GORDON PARSONS is fascinated by a unique dream journal collected by a Jewish journalist in Nazi Berlin
Borrowed Time: Lennon’s Last Decade, Parthenope, Where Dragons Live and Thunderbolts* reviewed by MICHAL BONCZA and MARIA DUARTE
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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