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‘Effervescent’
This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF
Tower of Babel, 1982
[Artist’s estate - courtesy of Liss Llewellyn and Three Highgate]
Ron's rages are sincere and — according to his wife — healthily cathartic. But can these splenetic outbursts loosen the grip of capitalism at its most monstrous?
ANGUS REID considers the power of the podcast as a vehicle for consensus building in opposition to mainstream media narratives
GLENN FOSBRAEY recommends a biography worth reading for both existing George Michael fans and those yet to be converted
FRANCIS DEVINE introduces a new collection of essays that draws on Pease McKenna’s example to indicate future paths for the movement
KEVIN DONNELLY and MARIA DUARTE review Shoot the People, The Last One For The Road, Rosebush Pruning, and Moana
JAMES WALSH recommends an exceptional documentary about the experience of Western doctors in Gaza
Twist and Shout
David Evans
Three Highgate, London
EPIC watercolour seems like a contradiction in terms, but that rather genteel medium, stereotyped by English evening classes and the Sunday morning easel was handled with vitality and drama by David Evans (1929-1988).
Resistance in watercolour is a juicy term coined by the exhibition’s curator Alistair Hicks, whose fine essay on Evans in the 2017 Liss Llewellyn Fine Art catalogue (on sale in the gallery) fixes his star in the constellation of post-war British art: among Edward Burra, Peter Blake and David Hockney.
Further back we find soulmates in Turner and Samuel Palmer in his landscapes. Well yes, male artists all, but at least pointing up that watercolour has balls.
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