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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What’s a winter friend and red all over?
Not only the Morning Star, as RICHARD HORNSEY, ANNA GREENWOOD and HILARY INGRAM explain with a brief history of Britain’s obsession with the hot water bottle
COMPLEX REALATIONSHIP: The sculpture Big Mother, 2015, by Erwin Wurm; Woman at work on a rubber plantation, Java, 1915
[GeorgWassmuth/CC; Public Domain]
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
LAST winter, British retailers reported record sales of water bottles as consumers look to cut their heating costs as the average household energy bills soared.
Boiling a kettle to fill a hot water bottle uses less energy than an electric blanket or turning on the heating and so is the cheapest option to keep you warm, according to consumer insights publication Which?
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Gin Lane by William Hogarth is a critique of 18th-century London’s growing funeral trade, posits DAN O’BRIEN