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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Ordinary excitements
What made Roy Oxlade excel as a painter, says MICHAL BONCZA, was his ability to transform the everyday into objects of wonder
(L to R) Woman on a Table, 2002; Untitled (All images: courtesy of Alison Jacques Gallery, London © Estate of Roy Oxlade)
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
ROY OXLADE, who died in 2014 at the age of 85, was many things — all of them inextricably interlinked and interdependent.
A celebrated teacher, a radical and compelling philosopher in the field of art and a painter with a captivating and intriguing vision, he was also a lifelong Labour voter with a disdain for the Establishment and the monarchy, in particular the latter’s dispensation of “honours” to those in the arts.
As a new online exhibition of his work Art & Instinct at London's Alison Jacques Gallery demonstrates, he was an enfant terrible by nature and a true renaissance man by choice, with both complementing each other to perfection.
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MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
New releases from Kennedy Administration, Melanie Pain, and Afton Wolfe
Strip cartoons used to be the bread and butter of newspapers and they have been around for centuries. MICHAL BONCZA asks our own Paul Tanner about which bees are in his bonnet