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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Well-steeled for battle
ANGUS REID admires a unique transformation of metal into nuanced artworks of alienation, identity and social conflict
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
Studies for a Shield after Battle
Patriothall Gallery
Edinburgh
CHARLOTTE CULLEN makes work from steel and aluminium. It has sharp corners, torn edges and a bleak industrial monochrome and the rough surfaces on her assembly Studies for a Shield after Battle bear the traces of assault.
From the metal plates she makes prints — when pressed into paper, the identity of the battle reveals itself and at the centre of the show are two sequences of three small prints, each whispering the sources of her work.
Marrow I, II and III are like the random messages scratched into a school desk or a battered bus stop. It is not the content of the words that speak, so much as the invocation of a conflicted adolescence.
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