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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Beware of the Stendhal syndrome
LYNNE WALSH leaves the gallery saturated to the point of nausea by the overabundance of paintings on display
(L to R) Somaya Critchlow, Figure Holding a Little Teacup, 2019; Lubaina Himid, The Captain and The Mate, 2017-2018
[(L to R): Kalory Photo & Video; Andy Keate]
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
Mixing it up: Painting Today
Hayward Gallery
IT’S fair to say that you currently get a lot of paint for your money at London’s Hayward Gallery.
In fact, there’s paint, as well as oil, plastic, shampoo, plexiglass, sand, nylon, hair gel, broken glass, sandwich bags, mouthwash, and rice.
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MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
LEO BOIX, ANGUS REID and MARIA DUARTE review Night Stage, Two Women, Kim Novak’s Vertigo, and Fuze
KEVIN DONNELLY accepts the invitation to think speculatively in contemplation of representations of people of African descent in our cultural heritage
MIKE QUILLE applauds an excellent example of cultural democracy: making artworks which are a relevant, integral part of working-class lives