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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‘Man is born free and everywhere he is in chainstores’
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
THAT headline comes from Jim Greenhalf's declaration in his new book, with an ironic nod to Rousseau. His collection Breakfast at Wetherspoons (Smokestack, £7.99) is a kind of bleak Bradford noir, full of gruff bar-stool wisdom.
“Whose cup spills over?/The emptiest pot makes the loudest din./Clay is stronger when it’s fired,/Flesh is stronger when it’s hired./Look through a glass darkly:/half-empty or half-full?/Some have no glass at all,/others no water,/no country.”
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MARTIN GRAHAM welcomes, with reservations, a scholarly addition to the unfinished business of understanding how capital works on a world scale
NICK MATTHEWS recalls how the ideals of socialism and the holding of goods in common have an older provenance than you might think
Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
The creative imagination is a weapon against barbarism, writes KENNY COYLE, who is a keynote speaker at the Manifesto Press conference, Art in the Age of Degenerative Capitalism, tomorrow at the Marx Memorial Library & Workers School in London