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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Compelling political theatre
SARAH-JANE COYLE applauds a stage production of the film I Daniel Blake, and analyses how fictional representations cut through popular prejudice
David Nellist as Daniel Blake at Northern Stage
[Pamela Raith Photography]
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
KEN LOACH’s 2016 film I, Daniel Blake is a scathing indictment of the British benefits system.
The film follows 59-year-old widower Daniel Blake who suffers a heart attack and becomes unable to work.
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If true, the photo’s history is a damning indictment of the systematic exploitation of non-Western journalists by Western media organisations – a pattern that persists today, posit KATE CANTRELL and ALISON BEDFORD
JOSEPHINE BARBARO welcomes a diverse anthology of experiences by autistic women that amounts to a resounding chorus, demanding to be heard
ANDREW FILMER welcomes the reopening of Glasgow’s landmark theatre after a seven-year transformation
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright