MICK MCSHANE is roused by a band whose socialism laces every line of every song with commitment and raw passion
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Lynn Chadwick, Gallery Pangolin
Profound humanism shines through online retrospective of major sculptor's work
(Left to right) Two Winged Figures, 1976; Pair of Sitting Figures, 1973; Two Watchers, 1967
New releases from Mountain, Soul Asylum and Michael McDermott
ALEX HALL is disgusted by the misuse of ‘emotional narratives’ to justify uninformed geo-political prejudice
SUE TURNER welcomes a thoughtful, engaging book that lays bare the economic realities of global waste management
JOHN GREEN welcomes an insider account of the achievements and failures of the transition to democracy in Portugal
SIMON PARSONS applauds an imaginative and absorbing updating of Strindberg’s classic
PETER MASON is enthralled by an assembly of objects, ancient and modern, that have lain in the mud of London’s river
LONDONER Lynn Chadwick came into sculpture via architecture, a field he worked in as a draughtsman, and it was the influence of his employer Rodney Thomas that proved crucial.
Thomas was a dreamer and a visionary thinker — “a modest man who didn’t think modestly” — who’d been dissuaded by his uncle from becoming a painter. He was the ideal person to encourage Chadwick’s aspiration.
Chadwick’s lack of formal artistic training was a blessing in disguise, as it was his architectural drawing that “taught me how to compose things,” he once recalled. “I actually wanted to produce a sort of touchable object, a tangible object... I wanted to do it to have some reality in front of me.”
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