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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The golden boy of Soviet art
Alexander Deyneka's dynamic response to the Bolshevik revolution shines through his work, says CHRISTINE LINDEY
(L to R) Ace [fighter pilot] shot down, 1943; In the Donbass, 1925; Football, drawing for Red Niva magazine, 1927
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
IN 1917 Alexander Alexandrovich Deyneka (1899-1969) was just 18 and studying in his native Kursk when the upheavals and excitement of the Bolshevik revolution began.
He soon travelled to Moscow to study at the now celebrated Vkhutemas (arts and crafts workshops) and in this cauldron of aesthetic and political debates he honed his Marxist aspiration to create a new Soviet art.
Deyneka joined Vladimir Favorsky’s graphics and printmaking department, where he learned to respect art theory and to construct his compositions in terms of plane and space.
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