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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The spirit in the mass
JOE GILL relishes the emotional force of an exhibition of two interconnected painters who trust instinct over technique
Chaim Soutine: Les Platanes a Ceret, c.1920; Le valet de chambre, c. 1927
[Sotheby's/Lewis Collection]
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
WHAT connects the work of two highly regarded 20th century artists, Chaim Soutine and Leon Kossoff?
The short answer is their expressive work, their subjects — ordinary people and places — and the way the first influenced the second.
Hastings Contemporary art gallery has brought together an impressive collection of Soutine and Kossoff’s landscapes and portraits in this beautiful gallery located just metres from the fishing boats that sit on the shoreline.
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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 invigilates images that meditate on Palestine, and the people who witness them
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright