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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Sir Keir Starmer
by Paul Birtill
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
Above all else he desperately
wants to be prime minister –
wants the top job with all the
trimmings and trappings of the
highest office in the land –
Chequers, Number 10, portrait
on the wall, trips to America
to meet leaders, a mention in the
history books, a peerage. But he
won’t do anything, nothing at all,
you’ll barely notice a difference.
All that will change will be some
furniture in 10 Downing Street.
Paul Birtill is well-known as a Liverpool poet on the circuit. His most recent poetry collections are Bad News and All’s Well that Ends, both published by Wrecking Ball Press.
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