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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Breaking the curatorial mould
These women have been overshadowed, marginalised or ignored by the male-dominated art world for far too long, writes CHRISTINE LINDEY
(L to R) Paula Modersohn-Becker, Mother with Child on her Arm, Nude II, 1906; A Weavers’ Revolt, 1893-1897
[Royal Academy of Arts]
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
Making Modernism
The Gabrielle Jungels-Winkler Galleries, Royal Academy of Arts
EARLIER accounts of German art of the early 20th century would have focused on male Expressionists, so it is good to see one which focuses on female painters.
In some paintings Gabriele Munter’s colour is to die for — rivalling Matisse in purity and daring. She stuck to traditional subjects, as did most of the early avant garde, excelling in still lifes, but also painting sensitive interiors and portraits.
Yet how many would have seen more than the odd token work in a group exhibition?
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SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
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