History of Art


Flavia Frigeri

Dr Flavia Frigeri


Dr. Flavia Frigeri is an Art Historian and Curator, currently Teaching Fellow in the History of Art department at University College London. Prior to that she served as a Curator, International Art (2014-16) and Assistant Curator (2011-14) at Tate Modern, where she worked on exhibitions, acquisitions and permanent collection displays. She co-curated (with Jessica Morgan) The World Goes Pop (2015). At Tate Modern she was also responsible for: Henri Matisse: The Cut-Outs (2014), Paul Klee: Making Visible (2013) and Ruins in Reverse (2013). From 2010 to 2011 she was the recipient of the prestigious Hilla Rebay International Fellowship from the Solomon R. Guggenheim Foundation.

She holds a PhD from UCL, an MA in Art History from University of Chicago and a BA in Art History from John Cabot University, Rome. She has published articles and catalogue essays on a range of subjects including, post-war European art with a focus on Italian art, pop art and exhibition histories. She is currently working on a book investigating Rome’s post-war visual landscape and co-editing a volume of collected essays New Histories of Art in the Global Postwar Era: Multiple Modernisms, texts which originated in a symposium held at Louisiana Museum of Modern Art in Humlebæk, Copenhagen in 2017. Between 2018 and 2019, she published two books, Pop Art and Women Artists as part of the Art Essentials series edited by Thames & Hudson.

As an independent curator, her recent curatorial work includes: Carol Rama: Eye of Eyes (Lévy Gorvy, New York, 2019), Boom: Art and Industry in 1960s Italy (Tornabuoni, London, 2018) Invisible Cities (Waddington Custot, London, 2018) and Evolutionary Travels the inaugural show of Fundacion Arte in Buenos Aires in 2016. She is currently curating exhibitions for Dia Art Foundation, New York, MACBA - Museu d'Art Contemporani de Barcelona and Jewish Museum and Tolerance Center, Moscow.


Research Interests

American and European post-war art, with a special emphasis on Italian Art, Design,

Contemporary Art, Curating and Exhibition Histories.



Frigeri F. and Handberg K. eds. (2020). New Histories of Art in the Global Postwar Era: Multiple Modernisms. Routledge

Frigeri F. (Spring 2019). Women Artists. Thames & Hudson, London

Frigeri F. (Autumn 2018). Pop Art. Thames & Hudson, London

Frigeri F. (2018). Invisible Cities: Architecture of Line. Waddington Custot, London

Morgan J. and Frigeri F. eds. (2015). The World Goes Pop. Tate Publishing, London

Frigeri F. (2013). Tate Introductions: Klee. Tate Publishing, London

Frigeri F. (2012). Marion R. Taylor: Paintings, 1966-2001. The Solomon R. Guggenheim Foundation, New York



Frigeri F. (2019) ‘Evelyne Axell and the Age of Plastic’ in Evelyne Axell, Pop Method, exh. cat. Delta, Namur.

Frigeri F. (2019) ‘Flavia Frigeri talks with: Marina Apollonio, Alberto Biasi and Franco Costalonga’ in Peggy Guggenheim: The Last Dogaressa, exh. cat. Peggy Guggenheim Collection, Venice.

Frigeri F. (2019) ‘From “Italy at Work” to “The New Domestic Landscape”: a short history of Italian Art and Design, 1945-1972’ in Utopia: Art et Design Italien, exh. cat. Tornabuoni, Paris

Frigeri F. (2019) ‘Manuel Espinosa and his European Grand Tour’ in Manuel Espinosa, exh. cat. Stephen Friedman, London.

Frigeri F. (2019) ‘How Much Light in Black,’ in Carol Rama: Eye of Eyes, exh. cat. Levy Gorvy, New York.

Frigeri F. (2018) ‘The Forgotten and the Forgettable: the Making of The World Goes Pop and Other Stories,’ in Curatorial Challenges, eds. Malene Vest Hansen, Anne Folke Henningsen and Anne Gregersen, Routledge.

Frigeri F. (2018) ‘Between the Atmospheric and the Geometric in Antonio Calderara’s paintings,’ in Antonio Calderara, exh. cat. Lisson, London.

Frigeri F. (2017) ‘Nomadic Fictions,’ in Camille Morineau and Lucia Pesapane eds. Women House, exh. cat. Monnaie de Paris.

Frigeri F. (2017) ‘The Absence of Presence in the Paintings of Gino De Dominicis,’ in Gino De Dominicis, exh. cat. Luxembourg & Dayan, London. 

Frigeri F. (2017) ‘Into the TV Landscape: The phenomenology of Mario Schifano,’ in Franecsco Vezzoli ed. TV 70: Francesco Vezzoli guarda la Rai exh. cat. Fondazione Prada, Milan.

Frigeri F. (2017) ‘From A to Z: Alphabetizing Jannis Kounellis,’ in Jannis Kounellis, exh. cat. White Cube, London.

Frigeri F. (2016) ‘The Odd Couple: the engineer and the gaucho at the Venice Biennale,’ in Fausto Melotti and Lucio Fontana, exh. cat. Mazzoleni, London.

Frigeri F. (2016) ‘Cho Yong-Ik and the painterly tradition,’ in Cho-Yong Ik, exh. cat. Edouard Malingue Gallery, London. 

Frigeri F. (2016) ‘KAWSification of the Universe,’ in KAWS, exh. cat. Yorkshire Sculpture Park, May 2016.

Frigeri F. (2015) ‘Ceramic or Wood? Alex Hoda’s Playful Deceit,’ in Claire Shea ed. Alex Hoda: Work in Progress. Cass Sculpture Foundation/Hatje Cantz.

Frigeri F. (2014) ‘Chapel Factory,’ in Karl Buchberg, Nicholas Cullinan, Jodi Hauptman and Nicholas Serota eds. Henri Matisse: The Cut-Outs. Tate Publishing, London.

Frigeri F. (2013) ‘The peaceful character of compromise:’ Paul Klee’s ‘so-called pointillism’, in Matthew Gale ed. The EY Exhibition: Paul Klee – Making Visible. Tate Publishing, London, 2013.

Frigeri F. (2012).Tastebreakers of the 1950s: A Chronology’ in Tracey Bashkoff and Megan Fontanella eds. Art of Another Kind: International Abstraction and the Guggenheim, 1949-1960. The Solomon R. Guggenheim Museum, New York, 2012



‘When art sold its soul to upholstery: The commodity design object in post-war Italy,’ Narrating home through an east west divide, Södertörn University, 24-25 January 2018.

On the organizing committee of: Multiple Modernisms: a symposium on globalism in postwar art, Louisiana Museum of Modern Art, 2–3 November 2017.

'Jewels as artworks: prêt-à-porter art in post-war Italy,' 3rd European Congress on Jewellery, Museu Nacional d'Art de Catalunya, 17-18 November, 2016.

‘The forgotten and the forgettable: the challenges of curating research driven exhibitions,’ Curatorial Challenges, University of Copenhagen, 26-27 May 2016.

‘Plastic Nomads: Nicola L’s Red Coat and Carla Accardi’s Tent,’ Penetrable/Traversable/Habitable: Exploring spatial environments by women artists in the 1960s and 1970s, Centro de Arte Moderna - Fundação Calouste Gulbenkian,18-19 May 2016.

Co-organizer of the symposium: “Arte Povera and beyond, Milan, Turin, Rome,” Italian Cultural Institute, London, UK, March 2011 (organized in conjunction with the Pino Pascali retrospective at Camden Arts Centre, London, March-May 2011)



2019/20 – HART0042 – Modern Art and Architecture: Women Artists in Modern and Contemporary Art, UCL Department of History of Art
2019/20 – HART0004 – Thematic Seminar, UCL Department of History of Art

2018/19 - HART0078 - The Italian Avant-Garde, UCL Department of History of Art

2017/18 - HART3103 - The Italian Avant-Garde, UCL Department of History of Art

2016/17 - HART3103 - The Italian Avant-Garde, UCL Department of History of Art