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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Image restoration
Christine Keeler was pilloried by the Establishment and the tabloids but a new exhibition salvages her tarnished reputation in a telling commentary on class, male power and sexual politics, says JAN WOOLF
Sadie Lee; Scandalous (Detail)
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
Dear Christine
Vane
Newcastle-upon-Tyne
AS A 13-year-old delivering newspapers in a Surrey village, I read about Christine Keeler on my paper round, gaining rudimentary political education comparing redtop and broadsheet headlines.
With that long lustrous hair, I thought Keeler beautiful and was intrigued that she’d had sex with a Russian.
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