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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A graphic metamorphosis like no other
The graphics of Soviet film posters uttered the new revolutionary visual grammar and it dazzled the world. MICHAL BONCZA recommends a superb book dedicated to it
(L to R) Mikhail Dlugach, film poster for Yego Kariera/His Career, 1928; Anton Lavinsky, film poster for Miss Mend, 1927; Nikolai Prusakov, film poster for Pyat Minut/Five Minutes, 1929
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
Film posters of the Russian avant-garde
by Susan Pack
Taschen £34.15
FILM posters are among the most memorable graphic images generated during the first decade of the Soviet revolution.
Lenin, who believed “that of all the arts the most important for us is the cinema,” nationalised the film industry on August 27 1919 and in the same year the world’s first state-filmmaking school, the First State School of Cinematography, was established in Moscow.
The Soviet slogan “Art into life” encouraged artists to assume social responsibility in their work be it furniture design, fashion, architecture, photography, theatre stage design or the modernised film industry.
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