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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Jon Buck: Time Of Our Lives, Gallery Pangolin, London
(L toR) Full of Life and The Whole Caboodle
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
AT FIRST sight, this free exhibition of work by Jon Buck gives the impression of an archaeological find.
Intriguing bronze artefacts — evidently not utilitarian — appear to be coloured by some unknown natural process. They’re covered with glyphs reminiscent of Celtic symbolism but which are actually undecipherable.
A clue to their meaning is found in Buck’s younger days when he worked as a bird-keeper at Bristol Zoo, an experience that inspired his interest in poetry, science and anthropology.
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