Tate's Kahlo Show: Fame Dilutes Art?

A major exhibition at Tate Modern examines the iconic status of artist Frida Kahlo, prompting questions about whether her fame eclipses her artistic achievements. The display grapples with how and why Kahlo became a cultural phenomenon, a focus that differs significantly from how artists like Picasso or Rembrandt are typically presented.

The exhibition's exploration of Kahlo's image and fame is extensive, but her actual artwork is notably sparse, with only 36 pieces present. This scarcity is attributed to collectors, including Madonna, who have been reluctant to loan their pieces to museums. As a result, the curators have supplemented Kahlo's art with works from her contemporaries and artists influenced by her since the 1970s.

While the exhibition includes impressive works by Diego Rivera, Kahlo's husband, and acknowledges other contemporaries, the reviewer finds that most subsequent artists paying homage do not reach Kahlo's league. The article criticizes the proliferation of commercialized images of Kahlo, arguing that this dilutes the intensely autobiographical nature of her work and her status as a real person, not merely a plastic icon.

However, Kahlo's art ultimately reclaims the exhibition. Masterpieces like 'Self-Portrait with Dr. Farill' are highlighted. The exhibition's approach, tracing Kahlo's rediscovery by post-1960s artists, aligns with contemporary ideas where life and art merge. Yet, the reviewer concludes that while striking, comparisons like Mary McCartney's photograph of Tracey Emin dressed as Kahlo, and the sheer volume of 'dross,' may prevent visitors from fully experiencing Kahlo's true magic.