CHRIS SEARLE welcomes a startling vision of contemporary Newport from a veteran photographer of the British working class
Latest editorial
Colour in the enveloping darkness
MICHAL BONCZA recommends an exhibition of paintings by William Crozier, one of the most significant landscape painters of the late 20th century
(L to R) Watermeadows, 1977; Gramercy Park, 1979-80
[Courtesy of Flowers Gallery]
ANGUS REID recommends a very unusual documentary: a love story between two disillusioned journalists
In verse and polemic, the bard points out that he is a poet and musician, not a political party
MARIA DUARTE, JAMES WALSH and ANDY HEDGECOCK review The Invite, My Father’s Island, Nirvanna: the Band, the Show, the Movie, and Oh My Goodness!
PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
William Crozier: A Heightened Vision of Nature, 1977-1980
Flowers Gallery (21 Cork Street)
BORN in Glasgow to working-class Irish parents and educated at the Glasgow School of Art, William Crozier settled in London where he established a reputation as one of the most interesting artists of his time.
His peripatetic life took him to Dublin (he took Irish citizenship) and Paris in the 1950s, then to Andalusia in 1963, locations which proved central to his development as an European artist. Later he divided his time between West Cork and Hampshire.
As for many of his post-WWII generation — he was 15 when it ended — its horrors, concluding in the atomic bomb, were reflected in deep anxieties.
Similar stories
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
JAN WOOLF invigilates images that meditate on Palestine, and the people who witness them
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist