Frida: The Making of an Icon review – forget her iconic status, just show us more of her art

Tate Modern, London
Frida Kahlo took self-portraiture to new levels of interior revelation and her work takes you deep into her mystery. So why is this show padded out with responses by lesser artists?

Charisma is something you can’t fake and Frida Kahlo had it before she became an artist, let alone a modern hero. In photographs, the teenaged Frida appears both in a silk dress staring boldly from beneath her already colliding black eyebrows, and posing as a man in suit and tie. In a home movie her husband, the Marxist mural painter Diego Rivera, woos her and they cuddle. Those were the good times. Rivera is so fat and ugly next to his wife, you’d think he would have appreciated his luck more.

Every image of Kahlo is interesting but nobody could portray her like she portrayed herself. She took self-portraiture to new levels of interior revelation, psychological and physical. Inspired partly by the surrealists and partly by Catholic traditions of depicting pain, Kahlo took herself apart and put herself back together in images of suffering, survival and triumph. In her 1937 painting The Heart, she stands neat and calm while a sword pierces her chest and her disembodied arms reappear in two floating, otherwise empty outfits. The most complete of the Fridas has a brace on her left foot which could be a Freudian symbol except it’s a factual reference to the physical challenges she suffered all her life after she was severely injured in a bus crash when she was 18.
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