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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Body counts in Suffolk, Ireland, Australia and Regency Bath
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
IN HELEN CALLAGHAN'S Everything Is Lies (Penguin, £12.99), London architect Sophia arrives at her parents' smallholding in Suffolk on a reluctant duty visit, only to find her mother dead and her father dreadfully wounded.
The police see it as an attempted murder-suicide, with the suicide bid unsuccessful. But this would be so out of character for the quiet couple who raised her that Sophia is convinced that a third party must have been involved.
With her father yet to regain consciousness, only she can find the truth — which must surely have something to do with the news that her rather dull mother has written an explosive tell-all memoir.
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