GEOFF BOTTOMS relishes a profoundly human portrait of a family as it evolves across 55 years in Sheffield
Harvest of a hungry pencil
In the 1960s Feliks Topolski revitalised the ancient art of chronicle with panache and gusto. MICHAL BONCZA looks at the work
(L to R) Public Opinion: Anti-apartheid demonstration in Trafalgar Sq, March 27 1960; Nye Bevan, 1954
[Estate of the Artist]
PAUL DONOVAN applauds an excellently crafted new musical that explores the life and death of Ruth Ellis
PAUL DONOVAN is tickled by the excruciating take-downs of one of the funniest, wittiest, political writers around.
RON JACOBS points out, via a transcription of Kissinger’s secret recordings, that Trump could never have existed without Nixon and Kissinger
ELLIS RAE is persuaded that the advantages of the ‘talking cure’ are superior to the treatment of mental illness with drugs
JOHN GREEN, MICHAL BONCZA and BELLA KATZ review The Good Boy, Broken English, and Don't Be Prey
Punks, Princes and Protests: The Chronicles of Feliks Topolski
Arch 158 Hungerford Arches / POSK Gallery, London
THERE is a feel of an impromtu informality of an artist’s studio in this show of Feliks Topolski’s sketches and drawings.
They fill the walls so high that accidental neck twisting is a distinct possibility — you have been warned.
But who was Topolski? He arrived in Britain in 1935 as a graphic correspondent of Wiadomosci Literackie/Literary News — Warsaw’s popular socio-cultural weekly — liked it here and just stayed on setting up a studio under one of the arches of the Hungerford Bridge in London where this exhibition is housed.
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This is poetry in paint, spectacular but never spectacle for its own sake, writes JAN WOOLF