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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Marxist Notes on Music: January 6, 2021
Arnold Schoenberg’s music is much like whisky, the first try is rarely fun, however the richness is eventually enjoyed when you stick with it
(L to R) Arnold Schoenberg, 1927, photographed by Man Ray and drawn by Egon Schiele, 1917
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
FEW figures throughout history have managed to have the musical impact of Arnold Schoenberg. Unlike older giants, like Beethoven, Schoenberg, despite having a huge admiration, still suffers the ire of conservative ears and being the “sole” reason for disliking modern music (ignoring that Schoenberg has not been modern for decades).
Born in Vienna in 1874, Schoenberg’s music grew and developed amid the cultural growth and energy of turn of the century Vienna and he was mostly self-taught.
His early works show the influence of Gustav Mahler and Richard Strauss, a rich romanticism and tempestuous music full of energy and drama.
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