‘This is mine, I own it’: how Tracey Emin and Frida Kahlo inspired me to make meaning out of pain

The article is a personal essay by a writer who, after undergoing a colectomy in 2023, found inspiration in Tracey Emin's unflinching self-portraiture following her 2020 cancer diagnosis. The author describes taking her own post-surgery photographs, echoing Emin's mantra "This is mine, I own it," and reflects on Emin's current work, including the Tate Modern exhibition and paintings like "I watched Myself die and come alive" (2023) and "Barbed Wire Stitches" (2024). The essay also connects Emin's approach to that of Frida Kahlo, whose retrospective is upcoming at Tate.

12 Art Books to Kick Off Summer

Hyperallergic's Lakshmi Rivera Amin presents a curated list of 12 art books for summer reading, including a novel lampooning the art world, Megan O'Grady's meditation on art and living, Kory Stamper's exploration of color lexicography, Nan Goldin's reissued photo essay, and Jennifer Higgie's prose poetry novel. The roundup also features Vincenzo Latronico's 'Perfection,' Nina Burleigh's satirical 'Turn Around, Don’t Drown,' and a graphic novel by Naoki Matayoshi and Shinsuke Yoshitake, among others.

How did the only painting sold by Van Gogh in his lifetime end up in Russia?

The article explores the history and conservation of Vincent van Gogh's "The Red Vineyard," the only painting he is certain to have sold during his lifetime. Sold for 400 francs at a Brussels exhibition in March 1890, the work now resides at the Pushkin State Museum of Fine Arts in Moscow. A recent conservation project used modern scientific techniques to uncover new details about the painting's creation, including Van Gogh's use of paint straight from the tube, compositional changes, and the fading of chrome yellow pigments. The article also recounts the painting's origin during Van Gogh's time in Arles with Paul Gauguin and its journey to Russia.

50 Women Artists You Absolutely Should Know

50 artistes femmes que vous devriez absolument connaître

Beaux Arts Magazine is publishing a multi-part series throughout March highlighting 50 historically significant but often overlooked women artists. The series profiles figures like Impressionist painter Marie Bracquemond, whose career was curtailed by her husband, pioneering Spanish photographer Mey Rahola, and Brazilian modernist Tarsila do Amaral, who will be the subject of a major exhibition at the Musée du Luxembourg in 2024.

Before He Stole the Oscars, Timothée Chalamet Stole Ballet and Opera

Actor Timothée Chalamet sparked controversy by stating in an interview that he doesn't want to work in ballet or opera, describing them as artforms where the goal is to "keep this thing alive." The comment prompted swift backlash from the dance community, with institutions extending personal invitations and op-eds criticizing his remarks.

Homework till midnight and ‘one breakdown a week’: the mysterious art school keeping a forgotten style alive

The École Van der Kelen-Logelain, a unique and mythologized painting school in Brussels founded in 1892, continues to operate under strict, traditional methods. Students endure a rigorous six-month winter course, adhering to rules like mandatory white lab coats, silence, and no phones, to master specialized decorative painting skills, most notably the art of trompe l'oeil, or illusionistic painting.

frida kahlo auction record op ed

Frida Kahlo's 1940 painting *El Sueño (La Cama)* sold for $54.7 million at Sotheby's New York, setting a new auction record for the most expensive work by a woman artist, surpassing Georgia O'Keeffe's *Jimson Weed, White Flower No. 1* ($44.4 million in 2014). The sale sparked widespread commentary, with many framing it as a milestone for gender equity in the art market, while others noted the persistent gap between this price and those achieved by male artists like Leonardo da Vinci ($450.3 million) and Gustav Klimt ($236.4 million).

‘Maintenance Artist’ Highlights Mierle Laderman Ukeles’ Radical, Caring Approach to Public Art

A new documentary titled 'Maintenance Artist,' premiering at the Tribeca Film Festival, profiles New York City artist Mierle Laderman Ukeles, who has served as artist-in-residence at the city's Department of Sanitation since 1977. The film traces her radical practice, which began with her 1969 'Manifesto for Maintenance Art' and includes performances like 'Touch Sanitation Performance' (1980), where she shook hands with all 8,500 sanitation workers, thanking each for keeping the city alive. Ukeles' work elevates overlooked labor—trash collection, street-cleaning—as a form of public art.

The Collaborative Museum

ArtReview's feature 'The Collaborative Museum' presents a diagnosis of the current state and future of museums from professionals within the field. The article highlights concerns about cultural amnesia in the United States, the need for diverse and accessible art spaces beyond large institutions, and the critical role of museums as public spaces for remembrance and reflection.