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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Attila the Stockbroker Diary
Here’s a limerick in response to puke-inducing cavalcade of callous, self-serving, navel-gazing egotism of Tory unworthies feasting on Johnson’s political carcass
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
THERE are many ways to describe the process of selecting a new Tory leader.
For me it is akin to choosing which Crystal Palace player I’d like to score the winning goal against Brighton in the 90th minute of a Champions League final. Others have likened it to picking one’s favourite bit of diced carrot from a pool of vomit or deciding which portable loo to use on the third day of a festival.
I was actually in the bath when it became obvious that Johnson was on his way out, and I wrote a limerick to celebrate. The next morning, as the vultures continued to gather, I wrote another one, and from that point decided to chronicle the whole inglorious process in a series of limericks. (I think the limerick is the poetic form best suited to such a puke-inducing cavalcade of callous, self-serving, navel-gazing egotism.)
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