RITA DI SANTO draws attention to a new film that features Ken Loach and Jeremy Corbyn, and their personal experience of media misrepresentation
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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)
JULIA TOPPIN recommends Patti Smith’s eloquent memoir that wrestles with the beauty and sorrow of a lifetime
MARJORIE MAYO welcomes an account of family life after Oscar Wilde, a cathartic exercise, written by his grandson
KEN COCKBURN guides us through a survey of Chekov’s early short fiction, and the groundwork it laid for his later masterpieces
ANDY HEDGECOCK revels in a hugely enjoyable but deadly serious examination of the 1930s, that is an indictment of our own era
The bard distills our hellish times into fiery words
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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