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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Join us this long weekend at our 25th Glastonwick beer, music, poetry and more beer Festival
TV Smith in full flow
[Man Alive!/flickr/CC]
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
AS YOU read this we are at Coombes Farm, near Lancing in West Sussex, in the middle of our Jubilee celebrations! Yes, it’s great to finally be together again for our 25th Glastonwick beer, music, poetry and more beer Festival, delayed by two years due to Covid.
So how did it all begin? The story of Glastonwick is one of a simple, rather obvious but at the time pioneering idea, and this anniversary is a fitting opportunity to (briefly) tell it from the beginning…
In the mid ’90s I’d got fed up performing at great music festivals sponsored by the undrinkable corporate urine of Satan, and attending brilliant beer festivals where the “entertainment” consisted of a blues covers band with all the innovation and energy of a geriatric brontosaurus.
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