STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
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George Fullard: Human Tender, Pangolin Gallery London
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
JAN WOOLF examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
The bard recalls advice received 50 years ago from his TRB muse, and sorts out appropriate legislation for football club ownership
MICHAL BONCZA and MARIA DUARTE review Facing War, Kontinental ’25, Bugonia, and Relay
MAYER WAKEFIELD is frustrated by a production of Ibsen’s classic study of an anti-heroine that fails to elucidate her motivations
PETER MASON tunes his ear into the domestic affairs of a Carribbean couple with a troublesome son
PANGOLIN’S intimate space is the ideal setting for this retrospective of work by one of Britain’s most important, if sadly neglected, British sculptors.
Sheffieldian George Fullard’s work has both a succinct realism, with its stunning fluidity and clarity of form, as in Three Women, and an equally assured grasp of assemblage, epitomised by Pregnant Women.
Fullard had an optimistic disposition to fellow humans and, a rarity among sculptors, a sense of humour — best exemplified by the comically ponderous and visibly inept Phoenix with wrenches for legs and forks for wings.
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