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
Signal-on-Sea
Irvine Beach
A YOUNG couple scream as they plunge into the water. A flock of seagulls descend on an overturned rubbish bin, surrounded by indifferent teenagers. A family’s picnic, complete with gas stoves and giant folding tables, becomes an object of envy as others struggle against the elements to get their barbecues going.
Close your ears and it could be just another sunny day in Irvine, one of several prime beaches on Scotland’s west coast in easy reach for the working class of the central belt.
But all around are tannoy speakers anchored in the sand, as if the nostalgic comparisons of our present predicament to the beaches of Dunkirk have culminated in a Blitz re-enactment in North Ayrshire.
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 examines work that aims to give viewers a material experience of the environments in the polar north and Britain equally affected by the climate crisis
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage
Paul MacGee of Manifesto Press invites you to a special launch on Saturday August 2.


