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 disillusion of a top BBC journalist
JOHN GREEN is disappointed by a marred critique of the British establishment by someone who was part of it
AHEAD OF THEIR TIME: Shadow chancellor John McDonnell, deputy leader Tom Watson and Labour leader Jeremy Corbyn joins supporters as they hold up a banner at a post-Budget rally at the Bethel Convention Centre, West Bromwich in November 2017
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
Strangeland – How Britain Stopped Making Sense
Jon Sopel, Ebury Press, £22
FROM the start, I was sceptical about this book. After all, someone like Jon Sopel, who was for many years a top BBC correspondent — for eight years its man in Washington — must be completely in tune with Establishment ideology or he would not have been given such a job.
Here he takes a critical look at a country that has dramatically changed since he left it in 2014. “Returning to the UK in some ways has been disconcerting,” he writes. “It is, after all, my home; a country I love and am proud of. But either it’s changed, or I have. Maybe both. It just feels like a strange land. This book is, I suppose, about Britishness — the values that have guided us.”
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