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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Ordinary excitements
What made Roy Oxlade excel as a painter, says MICHAL BONCZA, was his ability to transform the everyday into objects of wonder
(L to R) Woman on a Table, 2002; Untitled (All images: courtesy of Alison Jacques Gallery, London © Estate of Roy Oxlade)
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
ROY OXLADE, who died in 2014 at the age of 85, was many things — all of them inextricably interlinked and interdependent.
A celebrated teacher, a radical and compelling philosopher in the field of art and a painter with a captivating and intriguing vision, he was also a lifelong Labour voter with a disdain for the Establishment and the monarchy, in particular the latter’s dispensation of “honours” to those in the arts.
As a new online exhibition of his work Art & Instinct at London's Alison Jacques Gallery demonstrates, he was an enfant terrible by nature and a true renaissance man by choice, with both complementing each other to perfection.
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