GABRIELE NEHER draws attention to an astoundingly skilled Flemish painter who defied the notion that women cannot paint like men
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A painter of paradox
CHRISTINE LINDEY is struck by the creative complexity of Aubrey Williams's enigmatic and powerfully realised paintings
Aubrey Williams's Symphony
The Bard pays homage to Hull’s finest promoter and venue, and awards Douze Points to Laibach
KEVIN DONNELLY outlines how the bourgeois institutions inhibit our ability to to view art in revolutionary ways, and suggests some tactics to overturn it
ANDY HEDGECOCK welcomes an accessible - and optimistic - take on our relationship to new technology
JOHN GREEN suggests that a new, biased, and highly readable re-hash of the story of the Cambridge Five be taken with a large pinch of salt
BRENT CUTLER welcomes a timely reminder of the long history of protests and the outdoor spaces in which they takes place
WHEN Aubrey Williams (1926-1990) arrived in London in 1952 to further his art education, he immersed himself in the contemporary Western art that he had only seen in reproduction in his native Guyana.
By the mid-1950s, like so many others, he fell under the spell of American abstract expressionism, then being promoted covertly by the CIA as the freest and most “advanced” form of expression. But a lifelong refusal to be aesthetically boxed in prompted him to also continue painting figuratively and sometimes to blur the boundaries between the two.
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BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright