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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Killing me softly
BEN LUNN decodes the misleading rhetoric by which the BBC masks a philistine Tory agenda in the arts
The closure of the BBC Singers is a heinous act of cultural vandalism
[VocalEssence Ensemble Singers/CC]
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
ON March 7, the BBC announced their New Strategy for Classical Music. Following a year of review, which they say explores the culture sector as a whole, while investigating the BBC’s role within it, the new strategy supposedly will “strengthen its public purpose for classical music, delivering the best music to a wider audience, with a significant new investment in music education”.
The five key points of this strategy are:
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From sexual innuendo about Blackpool Rock to Bob Dylan’s ‘God-almighty world,’ the corporation’s classist moral custodianship of pop music has created a roll call of censored artists anyone would feel honoured to join, writes NICK MATTHEWS
CHRIS SEARLE speaks to Ethiopian vocalist SOFIA JERNBERG