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
Latest editorial
Lessons of individual development rather than collective or political consciousness
ANGUS REID reviews a book that is an important and comprehensive work of documentation
Gloria Abernethy sells the Black Panther newspaper while Tamara Lacey holds a sickle-cell anaemia poster at the Mayfair supermarket boycott in Oakland, California, 1971
[Stephen Shames]
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
Comrade Sisters: Women of the Black Panther Party
Photographs by Stephen Shames, text by Ericka Huggins
ACC Art Books £35
IT IS impossible not to be moved by Stephen Shames’s innocent and spontaneous documentation of the communal “‘survival programmes” that were inspired by the Black Panther Party in the late 1960s and 1970s.
He was 20 years old, an amateur, and he found himself in the middle of a defiant and self-organising mass movement that was addressing existential problems in the black community in a way that was without precedent in the history of the US.
Suddenly, all of it is interesting.
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