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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The fly in the ointment
CHRISTINE LINDEY takes issue with the reactionary agenda of an exhibition of marvellous Russian revolutionary art
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 JANUARY 1918 the Russian Soviet Republic was the first state in the world to officially support the avant-garde.
Fired by the revolution’s socialist ideology, artists rejected the tsarist regime’s fussy forms and fusty techniques, to embrace the latest technology.
They incorporated industrial forms into art, design, architecture and film which epitomised and promoted modernity.
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BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright