Frida: The Making of an Icon is not really an exhibition of Kahlo’s work. It is a cataloguing of her legacy.
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Rather than fighting over this or that patch of art history, surely London’s museums can agree that all art is a ‘continuum’?
By centring her own experience in her work, Emin also humanises and universalises it.
This is the challenge of the Kahlo legacy: the more ubiquitous her image becomes, the more its original and liberating meaning risks being flattened.
The exhibition gives an insight into the complex interactions of humans and machines through history.
For over seven decades, Ono’s radical ideas have contributed to powerful social ideas such as peace, freedom, equality and democracy.
Art critics are wrong to discount what we can learn about the master painter from how he engaged with fashion and the fashionable.
An installation at Tate Modern and two other shows in London are cementing the artist’s global reputation.
From the shock tactics of 90s artists starved of public funding to a pivot towards an art based in community and activism today.
Margel Hinder was responsible for some of Australia’s most significant public sculptures in the 1960s and 70s. A major exhibition now examines the totality of her career.
How an act of destruction can simultaneously become an act of creation.
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Lecturer, School of Art & Design, Nottingham Trent University
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Joanna Mendelssohn is a Friend of The Conversation.
Honorary Senior Fellow, School of Culture and Communication, The University of Melbourne
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Lecturer in Art and researcher, University of Nigeria
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Associate Professor, Fashion History, De Montfort University
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Head of Art History at University of Sussex, University of Sussex
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Lecturer in Design, University of Bradford
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Professor of Art & Computational Culture, London South Bank University
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Professor of History and Policy, University of Westminster
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Professor of Modern History, University of Southampton
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Alumna, Kingston University