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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Mellow submarine
JAN WOOLF is plunged into in a giant goldfish bowl composed of the work of David Hockney
SKINNY-DIPPING: David Hockney, Bigger & Closer (not smaller & further away)
[Justin Sutcliffe]
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
David Hockney
Lightroom, Kings Cross, London
COAL DROP YARD, Kings Cross, London, we descend into the Chapel of Saint David.
Four stories deep, a massive cubed room with benches at various angles and soft carpet to sit on. People looking up and around as if having a religious experience.
Well they are.
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MICHAL BONCZA, MARIA DUARTE and ANGUS REID review The Other Way Around, Modi: Three Days On The Wing Of Madness, Watch The Skies, and Superman
