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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Misogyny, class and madness
STEVEN HOWSON welcomes an accessible glimpse into the life and work of a great surrealist painter
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
Armed with Madness: The Surreal Leonora Carrington
by Mary M Talbot and Bryan Talbot
SelfMadeHero, £19.99
HAILED as “the last of the surrealists” when she died in 2014, Leonora Carrington’s paintings and sculptures display her unique use of symbolism mixing influences from Catholicism, Surrealism, early Renaissance techniques and Aztec and Mayan mythology, in a unique blend of subtle colour and expert draughtsmanship.
Advancing from the male-oriented focus of the Surrealists, Carrington’s work explores the role of women, often in domestic settings, elevating it to the realms of the sacred.
Like the work of other female Surrealists, Carrington’s work resonates much stronger in the 21st century than her male contemporaries.
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