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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Exhibition: White Gold at Nantgrw China Works Museum
GWYN GRIFFITHS enjoys an exhibition of fine porcelain combining the functional with the decorative
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
There couldn’t be a more appropriate venue for this exhibition of porcelain tableware, which brings together 12 artists at the Nantgarw China Works Museum.
Making fine porcelain — “white gold” — was the defining moment in Nantgarw’s history when, in 1813, William Billingsley and Thomas Pardoe came to the farmhouse on the bank of the Glamorganshire canal, just north of Cardiff. It was a time when porcelain in Europe was a blue-chip commodity for the very wealthy.
The recurring theme of this exhibition is the fusion of boundaries between the functional and decorative in objects used on a daily basis as is the case with Justine Allen’s works.
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