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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Latest chillers from Lara Thompson, Andreina Cordani, Mari Hannah and Jane Harper
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
LARA THOMPSON’S One Night, New York (Virago, £14.99) begins on a winter night in 1932. Two women wait at the top of the Empire State Building to see whether their plan to take an awful revenge on a powerful man, guilty of unforgivable crimes against them, will work.
And they’re waiting, too, to see whether either of them will be able to bring themselves to carry it out.
From the Dust Bowl of the Great Depression to a New York changing forever as the tenement-dwellers are forced to make way for the skyscrapers, this is an elegantly written debut.
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