Back from a mini tour of Yorkshire and Stockport and cheering for supporting act Indignation Meeting
Ordinary excitements
What made Roy Oxlade excel as a painter, says MICHAL BONCZA, was his ability to transform the everyday into objects of wonder
(L to R) Woman on a Table, 2002; Untitled (All images: courtesy of Alison Jacques Gallery, London © Estate of Roy Oxlade)
ALISTAR FINDLAY is mesmerised by this multiple ‘Visions of Scotland’ assault on the audience’s eyes and senses
The Star's critics ANGUS REID, ANDY HEDGECOCK and MICHAL BONCZA reviews I Am Love, The Penguin Lessons, Freaky Tales, The Thicket
MAYER WAKEFIELD has reservations about the direction of a play centered on a DVLA re-training session for three British-Pakistani motorists
New releases from Steve Knightley, Jupiter & Okwess, Jason Palmer, Lisa Knapp and Gerry Driver, Kin'Gongolo Kiniata, Ingrid Laubrock/Tom Rainey, Dan Sealey, Simin Tande, PAZ
Peter Mitchell's photography reveals a poetic relationship with Leeds
A uncomfortably misogynistic authorial voice that sometimes seems to lack insight troubles FIONA O’CONNOR
ROY OXLADE, who died in 2014 at the age of 85, was many things — all of them inextricably interlinked and interdependent.
A celebrated teacher, a radical and compelling philosopher in the field of art and a painter with a captivating and intriguing vision, he was also a lifelong Labour voter with a disdain for the Establishment and the monarchy, in particular the latter’s dispensation of “honours” to those in the arts.
As a new online exhibition of his work Art & Instinct at London's Alison Jacques Gallery demonstrates, he was an enfant terrible by nature and a true renaissance man by choice, with both complementing each other to perfection.
More from this author
MICHAL BONCZA recommends a compact volume that charts the art of propagating ideas across the 20th century
MICHAL BONCZA reviews Cairokee gig at the London Barbican
