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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‘You can hear what a beautiful player he was’
Chris Searle speaks to VAL WILMER about veteran virtuoso New Orleans clarinettist Albert Nicholas
Albert Nicholas
[Gottlieb William P/Creative Commons]
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
IT WAS the summer of 1973. The Victoria and Albert Museum in plush South Kensington was showing Val Wilmer’s powerfully evocative exhibition of jazz and blues photographs, Jazz Seen: The Face of Black Music.
There too for a rare and final London recital was the veteran virtuoso New Orleans clarinettist Albert Nicholas, who was to die that year. In his younger days he had been tutored by the master Crescent City clarinet genius Lorenzo Tio, and had played in the bands of King Oliver, Jelly Roll Morton and Louis Armstrong.
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