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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Drawing on people power
Artist JEREMY DELLER tells Louise Johnson why collaborators from all walks of life have contributed to the 'magic' of his new exhibition
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
Jeremy Deller's latest art exhibition is not an art exhibition. If that sounds confusing, it is because his new installation English Magic is a collaborative venture produced by people from many different walks of life, among them prisoners and steel band players, craftsmen and video technicians, painters and archaeologists.
All contribute to the finished product while Deller waves his magic wand and makes it happen. It is the opposite of the conventional art show when one man - it usually is a man - signs off his work with a flourish.
"Most artists have help," Deller tells me. "It's not a new thing. I just talk about it more. I have no technical talent from what I can work out, so I need help."
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