The 16 most inspiring things about bisexual artist Frida Kahlo: Mexican painter Frida Kahlo was born 107 years ago today July 6, 1907. A feisty free spirit who blazed her own trail and inspired everyone around her.
Frida Kahlo is one of the most revered artists to come from 20th century Mexico. Her distinctive look and style are instantly recognizable and she has been called a diva, a muse and a feminist icon.
A force of nature perhaps best summed up by an art critic who saw one of her very first exhibitions and said: ‘It is impossible to separate the life and work of this extraordinary person. Her paintings are her biography.’
She fought through a great deal of adversity during her life. At the age of six she contracted polio, when she was 18 she was badly injured in a bus crash and later in life she suffered several miscarriages … Kahlo never lost her passion for life. She was well known as an extremely quick witted and sharp woman, always the centre of attention wherever she was. Her strength of character has made her an emblem of hope and determination for many.
Art historians usually focus on her relationship with fellow Mexican painter Diego Rivera (whom she married, divorced and then married again) and her affair with Communist leader Leon Trotsky. But Kahlo was bisexual, and made no secret of her affairs and relationships with women as well as men. Kahlo was linked with African American entertainer Josephine Baker, American painter Georgia O’Keeffe and Mexican singer Chavela Vargas.
Photographers were captivated by her beauty. She was a muse to photographer Nickolas Murray who loved to take her picture in her sumptuous Mexican clothes.
Her work has been exhibited in art galleries all over the world, her diary has been published and many authors have written biographies of her extraordinary life.The house she lived in is now a museum. ‘La Casa Azul’ is filled with trinkets and treasure collected by Kahlo during her life and is one of the biggest cultural attractions in Mexico.
She defied classification of her work. Art critics tried to label her as a Surrealist painter, which was very trendy at the time, but she defied this label, instead saying: ‘They thought I was a Surrealist, but I wasn’t. I never painted dreams. I painted my own reality.’
In 1938 André Breton, principal initiator of the surrealist movement, described Kahlo’s art as a "ribbon around a bomb".
Rude Awakening, acrylic on canvas, 31x28, 2014
Vintage Violence, North Kivu, Eastern Congo, 2011
No Foreign Lands
Nulle Terre Etrangere
Musee des Beaux-arts de Montreals
Montreal Museum of Fine Arts
Peter Doig, Red Boat (Imaginary Boys), 2004
(Source: lillapumpa)"What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation."Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via tofunkey)
The video is a visual metaphor of existential freedom, predominance of essence over existence, and conditionality of boundaries it also has a sculptural dimension related to the evolution of form. The space as a black absolute presented as an allegory of authentic freedom as well as the narrative links to the discourse of how the consciousness and existence are related to each other.*
Steve McQueen - Deadpan (1997)
Turner Prize-winning artist Steve McQueen—now best known for his feature films, Hunger, Shame, and 12 Years a Slave—put himself in the line of fire in Deadpan (1997), a restaging of Buster Keaton’s falling house gag from Steamboat Bill Jr. McQueen does more than remake the stunt; his presence as a black man transforms the work into a commentary on race relations and the precariousness of the black experience.
—"Damage Control: How Artists Destroy to Create Art"