Amedeo Modigliani's (1884-1920) premature death at the age of 35, as a consequence of bohemian excess, overshadowed a proper analysis of his work for many years. I believe the fluidity of development is the core of queerness. We are not a silhouette in space and time. I work often with paintings, and even paintings have duration when they are being looked at.

UAL Enterprising Alumni Network Event: Purpose-driven and social enterprise from UAL Alumni - Meet the Speakers Remy, Michel, ‘Eileen Agar, Joseph Bard and Paul Nash’ in J. Alison and C. Malissard, eds., Modern Couples: Art, Intimacy and the Avant-Garde (Munich, London, New York: Barbican, Prestel Publishing Ltd, 2018) IncludingDora Maar&Pablo Picasso;SalvadorDalí&Federico García Lorca;Camille Claudel&Auguste Rodin;Frida Kahlo&Diego Rivera;Emilie Flöge&Gustav Klimt– plus many more.

The first major exhibition of Mexican artist, Frida Kahlo, showing this summer at Tate Modern, has been long awaited and is the subject of much speculation. This is the first exhibition of Kahlo's work in a major European museum and offers the world at large an artist who was 'discovered' by the feminist movement in the 1970s and 1980s.

Broude, Norma and Mary D. Garrard, eds., Reclaiming Female Agency: Feminist Art History after Postmodernism (Berkeley: University of California Press, 2005) Embedded in Pham’s chronicle is a wider narrative of what it is to see and be seen, to build an identity while rejecting the ones endlessly imposed from the outside, including dealing as an Asian American woman with acquiring the status of fetish object in the minds of many of the men she meets, something invisible in much of the white, feminist theory she reads in college. And from this mesh of memories, visual associations and events another thread emerges, an account of an all-consuming, failed relationship and all the revelations and confusions that came with it. I found Pham’s book’s thoughtful, sometimes intense, often unflinching, on rare occasions perhaps a little predictably precious. But I really liked her voice, how she structured her material, and, although I preferred the more concrete aspects of her discussion - the section spinning off from Nan Goldin was particularly powerful - there was so much that resonated here that I was completely absorbed throughout. Rhythms and modes also give rise to the arts. Because humans are born predisposed to respond to and use rhythmic-modal signals, societies everywhere have elaborated them further as music, mime, dance, and display, in rituals which instill and reinforce valued cultural beliefs. Just as rhythms and modes coordinate and unify the mother-infant pair, in ceremonies they coordinate and unify members of a group. According to Long, the choice to make the show entirely of photographs added dimensions of her exploration of trust and intimacy. “There’s something very immediate about photography. Offers something very particular when thinking through intimacy. We all have a relationship with photography. There’s something very familiar and very easy about engaging with images of this kind, even when the content of these images may not be easy at all.” Juxtaposing the work of younger photographers, like Báez and Navajo artist Dakota Mace, with that of more established photographers, like Aguilar, offers a pleasing sense of freshness and serendipity to the exhibition. “I was excited to let poetry drive this exhibit,” Long said. “I wanted to let artists that you haven’t seen on a wall together before speak to each other.”Dakota Mace -Béésh Łigaii II, from the series Béésh Łigaii, 2022 Photograph: Courtesy the artist and Bruce Silverstein Gallery, New York Pop Song is also a book about distances, near and far. As she travels from Taos, New Mexico, to Shanghai, China and beyond, Pham meditates on the miles we are willing to cover to get away from ourselves, or those who hurt us, and the impossible gaps that can exist between two people sharing a bed.

Foster, Alicia, Radical Women: Jessica Dismorr and Her Contemporaries (London: Lund Humphries and Pallant House Gallery, 2019)As these original works were often made with subversive intent, what Swarthout does with them on social media is entirely appropriate. She turns the images into memes. “You see motifs that constantly repeat themselves. In the same way now, people will take something on the internet and repeat it and you’ll then have a period of parodying it,” she says. “People ask about certain motifs in medieval art – for example, there are a lot of images of rabbits committing acts of violence. And you can really only explain the persistence of something like that by assuming that it was something that started off funny but was repeated so much that it became interesting. And that’s often the basis of a meme – it’s something that is stripped of its original context.”