MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
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An elevating sermon
In Theaster Gates’s work the spiritual and the utilitarian are inescapably conjoined to offer comfort and hope, believes MICHAL BONCZA
(L to R) Future Walls 2015-16; Chorus, 2016
[M Boncza]
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ALEX HALL is amused at the way the UFOs appear exactly where commercial interests, conspiracies, militarism and right-wing media overlap
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MICHAL BONCZA and MARIA DUARTE review Eagles Of The Republic, The Balloonists, Star Wars: The Mandalorian and Grogu, and Tom Clancy’s Jack Ryan: Ghost War
TOMASZ PIERSCIONEK is intrigued by a the changing significance of its vast areas of forest to Russia’s history
Theaster Gates: A Clay Sermon
Whitechapel Gallery
CLAY SERMON is what it says it is – a measured, uplifting visual oration on the constructive companionship humans and clay have had in the last century or so.
In the wide open square spaces of the Whitechapel gallery two dozen or so works illustrate Theaster Gates’ spiritual and utilitarian creative range.
Humans and clay got truly acquainted in the Neolithic period –about 13,000 years ago – which is often referred to as the Age of Clay. Rather surprisingly this coming together manifested itself almost simultaneously across the entire globe and, with very few technological adjustments, has served us well until the present.
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