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
Hans Hess was one of that brilliant generation of anti-fascist refugees who so enriched Britain’s cultural life.
He gave students at the first communist school of art, organised in 1968 at the Marx Memorial Library, an object lesson in dialectical thinking.
I was among that generation of embattled students deeply involved in controversies about the structure and content of art and design education, and he commanded us to understand our practice as artists and designers and that the behaviour of the individuals within the structures in which we existed — and the way these institutions were constructed and operated — were deeply ideological phenomena.
CHRISTOPHE IMMER of the Morning Star’s German sister paper Junge Welt reports on a Berlin conference on the politics of art and the legacy of Marxist critic Hans Hess
JAN WOOLF ponders the works and contested reputation of the West German sculptor and provocateur, who believed that everybody is potentially an artist
The creative imagination is a weapon against barbarism, writes KENNY COYLE, who is a keynote speaker at the Manifesto Press conference, Art in the Age of Degenerative Capitalism, tomorrow at the Marx Memorial Library & Workers School in London
Paul MacGee of Manifesto Press invites you to a special launch on Saturday August 2.


