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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Soothing views of the apocalypse
LEORA HADAS points out the paradox that renders nature programmes apolitical and unable to transmit the urgency of the climate crisis
[Cartoon by Steve]
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
PERHAPS nothing embodies the BBC’s values of inform, educate and entertain more than its nature documentaries. Planet Earth III is the latest in a proud tradition going back to the founding of the BBC Natural History Unit in 1957 and has everything devoted fans (myself included) expect.
There are sweeping shots, a soaring orchestral soundtrack and exciting scenes of hunting, courtship and breeding. Tender family relations, desperate chases and amazing survival stories are all narrated in Sir David Attenborough’s signature style.
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If true, the photo’s history is a damning indictment of the systematic exploitation of non-Western journalists by Western media organisations – a pattern that persists today, posit KATE CANTRELL and ALISON BEDFORD
JOSEPHINE BARBARO welcomes a diverse anthology of experiences by autistic women that amounts to a resounding chorus, demanding to be heard
Reaching co-operation is supposed to be the beginning, not the end, of global climate governance, argues LISA VANHALA
Gin Lane by William Hogarth is a critique of 18th-century London’s growing funeral trade, posits DAN O’BRIEN