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
Latest editorial
The Appalling Silence of Good People
by Merryn Williams
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
I’m haunted still by my cowardice, my silence
that long-lost morning when my fellow student,
flaunting a newspaper,
said loudly, in her clipped white-South African accent,
‘I think that girl should be shot through the head’.
I should have snapped back, ‘Helen, that’s disgusting!’
and, when she expressed incredulity, should have said,
‘I don’t want to listen to your sadistic fantasies.
I’m not shocked by that poor girl, I’m shocked by you’.
Would we have actually fought each other? Two
young women scuffling in that respectable common room?
I edged away from her, and no one was shot.
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