Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
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The ever-legible Leger
CHRISTINE LINDEY pays tribute to an outstanding artist whose work always aimed to be accessible
(R to L) The Homage to Louis David, 1948-9 and The Three Musicians, 1930
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
AN EXACT contemporary of Picasso, Fernand Leger was born in 1881 in the Normandy market town of Argentan to an argumentative cattle merchant and a gentle mother.
He lost his father when he was very young and his widowed parent gradually lost most of their possessions. Although Leger’s heart was in painting, she apprenticed him to an architect when he turned 16, believing this to be a more respectable profession. This training in precise draughtsmanship served him well and shines through his mature works.
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MIRANDA RICHMOND relishes the gloriously liberated art of Roy Oxlade, and traces his method back to the thinking of David Bomberg, his acknowledged teacher
JOHN GREEN welcomes a remarkable study of Mozambique’s most renowned contemporary artist
BLANE SAVAGE recommends the display of nine previously unseen works by the Glaswegian artist, novelist and playwright