Frida Kahlo, Self-Portrait (With Velvet Dress), 1926
Private collection
From breaking news and insider insights to exhibitions and events around the world, the team at The Art Newspaper picks apart the art world’s big stories with the help of special guests. An award-winning podcast hosted by Ben Luke.
This last episode of the current season begins with Frida Kahlo. Tate Modern in London this week opened Frida: The Making of an Icon, an exhibition that began at the Museum of Fine Arts in Houston earlier this year and which explores the Mexican artist’s paintings but also her influence on other artists and wider cultural forms. Ben Luke speaks to Tobias Ostrander, the co-curator of the exhibition.
Julien Levy, Frida Kahlo (1938)
© Courtesy Philadelphia Museum of Art
This week also marked 10 years since Brexit, the UK vote to leave the European Union. Ben speaks to Alexander Herman, the director of the Institute of Art and Law in London, about the impact of the UK’s withdrawal from the EU on art and cultural heritage laws.
On 23 June 2016 the UK voted to leave the EU
Photo: lazyllama; Courtesy Adobe Stock
And this episode’s Work of the Week is the Visconti-Sforza Tarot, a deck of cards made by Bonifacio Bembo in 1456-58. Forty-five cards from the deck, which are held in the collections of the Morgan Library and Museum in New York and the Accademia Carrara in Bergamo, are reunited in the Morgan Library and Museum’s new exhibition, called Tarot! Renaissance Symbols, Modern Visions. Ben talks to one of the show’s curators, Joshua O’Driscoll, about it.
A selection of Bonifacio Bembo's Visconti-Sforza Tarot Cards (1456-58) including The Chariot, The Empress, Death and The Juggler
The Morgan Library & Museum, MS M.630.12. Photography by Graham S. Haber.
Celebrating the “negative joy” of the American artist Kelley in a new Tate retrospective, a period of change in India explored at the Barbican, and a conversation about a work once owned by the pioneering woman gallerist Berthe Weill
Celebrating the life and work of the Australian performance artist, how Ukrainian artists and institutions are continuing to resist, and a close look at a pair of works from an Oslo exhibition
