MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
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The alluring appeal of the quintessential British modernist
(L to R) 1933 (piquet) pole, 1933; June 16- 47 (still life)
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
JAN WOOLF relishes an extensive history of our long relationship to trees in Britain that underlines the current emergency
DIANE WATT argues that while evidence of sex is not there, a 16th‑century lesbian poet could be Scotland’s answer to Gentleman Jack
KEITH RICHMOND relishes a superbly conceived modern version of Aeschylus’ drama of murderous family succession
Ben Nicholson: From the Studio
Pallant House Gallery, Chichester, West Sussex
WHEN Ivan Turgenev wrote in 1861 that “the drawing shows me at one glance what might be spread over 10 pages in a book,” he pointed to the separateness of the two experiences.
The work of British painter Ben Nicholson has the rare quality of being formally sophisticated and at the same time visually direct and approachable — devoid of mystique, it “speaks” for itself — hence requiring few, if any, words to describe it and certainly none to unravel its “meaning.”
Nicholson himself observed once in reference to his own work: “The kind of painting which I find exciting is not necessarily representational or non-representational, but it is musical and architectural,” adding that “whether this visual relationship is slightly more or slightly less abstract is, for me, beside the point.”
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MICHAL BONCZA recommends a minimalist installation that prompts intriguing connotations
JIM JUMP describes how artists in Britain rallied to the anti-fascist cause
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage