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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Artless anti-life
ANGUS REID is unimpressed by the reactionary undertow in an exhibition of melancholic Perthshire landscapes and photographs
(Left) PloughedFfield South Farr and (right) Black Crow by a Stony Path
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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
Philip Braham: Closer to Home
The Scottish Gallery, Edinburgh
PHILIP BRAHAM’S new exhibition is prompted, he says, by reflections on suicide.
In it, solitary trees stand out against poisonous skies, while stony paths wander into the centre of the composition and go nowhere.
The whole enterprise recalls the gloomy romanticism of the 19th-century German painter Caspar David Friedrich, whom Braham cites as a major influence.
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MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright