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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In memory of Michael Horovitz
A unique poet, cultural organiser, editor, visual artist, translator and mentor
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
ON JULY 7, yet another cultural comrade of mine left this Earth at the age of 86 — the pioneering performance poet and tireless, almost evangelical promoter of all things poetic, jazzy, artistic and sometimes just downright batshit weird, Michael Horovitz.
He started performing and organising poetry events in the 1950s and was one of the prime movers behind the groundbreaking and rumbustious, by poetic standards of the time, legendary Royal Albert Hall beat poetry “happening” of 1966.
“Misbehaving” beat poets somehow got poetry banned from the RAH for the next 18 years. God knows how long the ban would have been if we punk poets had been there.
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