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
Latest editorial
Music Wind Work
DAVID YEARSLEY reveals the hidden workforce behind the illusion of effortless music
DIVISION OF LABOUR: Cross section of the organ and the bellows from Dom Bedos de Celles: L'art du Facteur d'Orgues/The Art of the Organbuilder dated 1766; (inset) Felix Mendelssohn by Friedrich Wilhelm Schadow, 1834
[Public Domain]
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 monarchy of the King of Instruments is built on deception. The largest, most technologically complicated, most tonally diverse, and most visually stunning of musical instruments, the organ, was often held to be an earthly symbol of heavenly perfection.
It stands motionless in its balcony and from its massive frame produces awe-inspiring music without the slightest intimation of effort, except occasionally for a spinning gilded star or an automated angel thumping a kettledrum in joyous approval.
Similar stories
RON JACOBS recommends a book that charts the disparate circumstances that defined the lives of two prominent black Afro-Americans — one a communist, the other an anti-communist
RICHARD SHILLCOCK examines an enjoyable, but philosophically conventional book, and urges Marxists to employ their capacity to embrace the totality in any explanation
This is a concert of ambition and courage by organist and improviser Wayne Marshall, says SIMON DUFF
RON JACOBS welcomes a survey of US punk in the era of Reagan, and sees the necessity for some of the same today