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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Shipping out
MIKE QUILLE recommends an exhibition of Chris Killip’s stunning images of shipbuilding on the Tyne and its ultimate demise
End of Shift. Given by the artist in honour of all the shipyard workers of Tyneside
[© Chris Killip]
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
The Last Ships
Laing Art Gallery, Newcastle-upon-Tyne
THE LAST Ships exhibition of photographs taken by Chris Killip over just three years captures the awe-inspiring scale and beauty of the shipbuilding industry on Tyneside in the 1970s.
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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
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright