Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
Latest editorial
Best of 2018: Visual arts
BY CHRISTINE LINDEY
Urgent message: Forensic Architecture's Killing in Umm al-Hiran
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
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
IN 2018, the continuing revival of interest in progressive politics was reflected in artists’ and curators’ greater openness to serious themes.
After being almost forgotten for many decades, the prints of Frank Brangwyn were brought to a new audience by Brighton Museum.
Brangwyn intended his print series to be widely accessible by being much cheaper than unique paintings and his powerful depictions of dockers, shipbuilders, boot makers, woodcutters and bottle washers, while exposing their harsh conditions, honoured their labour without idealisation or sentimentality.
Similar stories
MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
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
SIMON PARSONS applauds an artist who rescues and rehumanises stories of women, the victims of violence, from a feminist perspective
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist