To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
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Subversion in the suburbs
LEN PHELAN reports on the Life on the Left exhibition in Liverpool
If you can see past the relentless commodification you will be rewarded by enormously powerful work, suggests JENNY MITCHELL
CHRIS SEARLE revels in the one-off collaboration between an American polymath and a British Muslim, and detects the presence of their revolutionary forebear
GORDON PARSONS revels in an ebullient production of Shakespeare’s magical comedy
BRENT CUTLER welcomes a thoughtful analysis of the Erdogan regime, viewed through the evolving history of a neighbourhood in Istanbul
GORDON PARSONS regrets the price, but is dazzled by an outstandingly ambitious study of the way art restoration in particular, and culture in general was weaponised by the Nazis
AIGBURTH Road in Liverpool is perhaps the last place you’d expect to find an eye-catching exhibition of posters and art works, including some iconic images of the Russian revolution and Lenin.
But the Corke Gallery, located in the middle of a shopping precinct with upwardly mobile pretensions on the outskirts of the city centre, is exactly where some extraordinary examples of original art and prints are on show in this free exhibition which runs until the end of next month.
The works in Life on the Left, dating from 1954 to last year, were collected by the late John and Veronica Gibson.
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