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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Edifying pictures of a thousand words
Art can and should be in the streets, where people live and work, writes JOHN GREEN about this inspiring exhibition
“I come to this Road and I feel free. I can be myself.” (quote/pictured Naomi)
[Don Travis]
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
Exhibition Ridley Road Stories (Part 1)
Future Hackney
futurehackney.com/exhibition
Ridley Road in the heart of the London’s borough of Hackney is renowned as an iconic market. On most days it is crowded with tradespeople and shoppers.
Over the years it has come to represent the rapidly changing face of London street life, its multiculturalism and changing demographic.
Above all it is a place brimming with energy, colour and the richness of human life. All these aspects are beautifully captured in this significant exhibition.
Similar stories
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage
OLIVER SNELLING, a south London stonecarver and yeoman stonemason, relates how he is helping bring about a new festival next month
MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives