WILL STONE fact-checks the colourful life of Ozzy Osbourne
A painter of paradox
CHRISTINE LINDEY is struck by the creative complexity of Aubrey Williams's enigmatic and powerfully realised paintings
Aubrey Williams's Symphony
JAMES CROSSLEY applauds a lucid biography of the German radical preacher who reemerged as a hero in the GDR
Prizes all round: the Bard hands plaudits to the Miners Gala, OT&JC, Joe Solo, Black Sabbath’s frontman and the Lionesses
Star cartoonist JAMIE BRITTON is in awe of a graphic novel of epic proportions that explores class, religion and globalisation via the strange cultivation of Ginseng in the US Midwest
GUILLERMO THOMAS is intrigued by a history of the Middle East that demonstrates how promising post colonial beginnings were snuffed out by Western imperialist interests
MARIA DUARTE recommends the intricate study of a high-performance and highly dysfuntional German family
WHEN Aubrey Williams (1926-1990) arrived in London in 1952 to further his art education, he immersed himself in the contemporary Western art that he had only seen in reproduction in his native Guyana.
By the mid-1950s, like so many others, he fell under the spell of American abstract expressionism, then being promoted covertly by the CIA as the freest and most “advanced” form of expression. But a lifelong refusal to be aesthetically boxed in prompted him to also continue painting figuratively and sometimes to blur the boundaries between the two.
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CHRISTINE LINDEY welcomes a fascinating survey of the work of the communist and socialist artists who founded the AIA in the 1930s
CHRISTINE LINDEY guides us through the vivid expressionism of a significant but apolitical group of pre WWI artists in Germany
CHRISTINE LINDEY salutes an outstanding exhibition imbued with a sense of national guilt
CHRISTINE LINDEY surveys the cosmopolitan, enigmatic compositions of an idiosyncratic artist whose work speaks of mystery and exile
