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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‘It's a meditation and resolution of hope’
Jazz violinist and composer FAITH BRACKENBURY talks to Chris Searle about her new record, a response to the knife-crime epidemic
Making common cause: Faith Brackenbury and Alfie Bradley in front of The Knife Angel
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
“IT’S a symbol of tragic beauty, a message conveyed in ominously dark material. Watching its gradual creation inspired me to compose music which merely touches on the myriad of emotions experienced in such devastating loss of life.”
That’s what jazz violinist Faith Brackenbury says of The Knife Angel, the powerful 27-foot tall creation of sculptor Alfie Bradley, who lives near her in Shropshire.
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CHRIS SEARLE speaks to Filipino-US saxophonist JON IRABAGON about the threat of AI in the time of Musk and Trump, and how an artist can respond
Re-releases from Bobby Wellins/Kenny Wheeler Quintet, Larry Stabbins/Keith Tippet/Louis Moholo-Moholo, and Charles Mingus Quintet