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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Never the twain shall meet?
LYNNE WALSH faces the ‘brilliant or bonkers’ conundrum of a simultaneous exhibition of work by Jeff Koons and Cy Twombly
POLES APART: (L to R) Cy Twombly’s Five Greek Poets and a Philosopher: ‘Sappho’ and Jeff Koons’ Diamond (Red)
[Bastian Gallery]
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
Primal Gestures: Jeff Koons & Cy Twombly
Bastian Gallery
THE concept behind the juxtaposition of these two artists is either brilliant or bonkers.
The small but beautifully formed Bastian Gallery in London’s Mayfair is renowned for clever use of its space, and this show certainly supports that reputation.
Whether Jeff Koons, contrarian and devoted acolyte of capitalism, has anything in common with the work of the thoughtful and intuitive Cy Twombly is a moot point.
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