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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Be yourself on your own terms — that's what diversity really means
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
AUTHOR Lionel Shriver recently said something along the lines of all a bland, middle-class writer has to do to get published is to be a bland, middle-class writer. That degree’s not wasted, she’s not wrong.
Meanwhile, poetry’s own Bullingdon Club has been wearing diversity like Derek Smalls wears a tinfoil-wrapped cucumber. When you realise that the black authors they’re pointing to on their prize list have already been successful with US publishers, you have to ask yourself, who was it that took any risk there? No snark at the authors, they’re fine writers.
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STEPHEN ARNELL looks back to when protesters took to the streets in London demand to Irish liberty, fair pay and free speech — and wonders what’s changed in 138 years
