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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Feeling at home among workers
CHRISTINE LINDEY is touched by an exhibition of evocative prints by Frank Brangwyn who shunned formal innovations in favour of socially conscious work
Unloading oranges at London Bridge
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
Frank Brangwyn’s Prints
Brighton Museum
Prints and Drawings Gallery
Royal Pavilion Gardens
Brighton BN1
Who nowadays has heard of Frank Brangwyn (1867-1956)? Yet he’d had the greatest international reputation of any British artist, he exhibited with Monet, Whistler and Degas, was feted by the Vienna Secessionists and was praised by Kandinsky.
Born in 1867 in Bruges to Anglo-Welsh, Catholic parents, he grew up in London from the age of eight.
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JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright