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Photographing Frida: Portraits of Frida Kahlo/ Fotografiando Frida: Retratos de Frida Kahlo

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20181115105951-f
Nickolas Muray: American (Szeged, Hungary, 1892 – 1965, New York, New York), Frida Kahlo on White Bench, New York (2nd Edition), 1939 Color Carbon Print 19 X 14 ½ Inches © Courtesy of Throckmorton Fine Art, New York, New York
Photographing Frida: Portraits of Frida Kahlo/ Fotografiando Frida: Retratos de Frida Kahlo

501 East 9th Street
72202 Little Rock
Arkansas
US
February 1st - April 14th
Opening: February 1st 10:00 AM - 5:00 PM

QUICK FACTS
WEBSITE:  
http://www.arkarts.com
EMAIL:  
info@arkarts.com
PHONE:  
501 372 4000
OPEN HOURS:  
Tue-Sat 10-5; Sun 11-5 / Library Hours: Tue-Wed 10-3

DESCRIPTION

The first exhibition about iconic artist Frida Kahlo to appear at the Arkansas Arts Center, Photographing Frida: Portraits of Frida Kahlo/Fotografiando Frida: Retratos de Frida Kahlo is a rare opportunity to see one of Mexico’s greatest painters captured by many of the 20th century’s most important photographers.

Photographing Frida: Portraits of Frida Kahlo features 65 images of Kahlo as art and artist. The photographs document Kahlo’s life as seen by the greatest photographers of the time – Lola and Manuel Álvarez Bravo, Imogen Cunningham, Emmy Lou Packard, Graciela Iturbide, Nickolas Muray and Edward Weston, among others. From casual snapshots to intimate family photographs to artfully posed studio portraits, viewers will see the full spectrum of Kahlo’s life, from self-assured adolescent, to influential artist, fashion icon and passionate lover, as she takes on a mythic presence in our collective imagination.

In the hands of photojournalists, friends and artists, the camera allowed Kahlo to explore her own image and identity, document her marriage to the great muralist Diego Rivera, express her strong political views, and artfully reveal her life-long struggle to overcome her physical challenges. In the process, she ultimately defined the principal subject of her own art – herself.

Photographing Frida is an opportunity to see Frida Kahlo as you’ve never seen her before,” Chief Curator Brian Lang said. “These images defined not only the way the world saw her – and continues to see her – but how she saw and depicted herself through her own work.”

Frida Kahlo was born in Coyoacán, Mexico City, Mexico in 1907. Her father, Guillermo Kahlo, was a photographer, and often photographed the young Frida. Through her father’s portraits, she became acquainted with the power of her own image.

Kahlo’s short life was punctuated by struggles with physical ailments. She contracted polio as a child, which left her right leg shorter and weaker than the left. Confined to her bed for several months by the illness, a mirror was installed overhead, and Kahlo began to paint. At age 18, she was severely injured in a near-fatal bus accident, fracturing several ribs, both her legs, as well as her collarbone and pelvis. The effects of the injuries lasted a lifetime, informing her art and the identity she honed through photography.

In 1929, Kahlo married muralist Diego Rivera. Throughout their tumultuous marriage, the couple was often photographed together, both in Mexico and in the United States. Rivera is a major presence, both in Kahlo’s life and in the photographs that document their life. As they traveled through Mexico and the United States, the “Frida and Diego,” as they were affectionately known – became a source of fascination and intrigue for the paparazzi: Kahlo, stunning in her Tehuana dresses, beribboned hair and beaded jewelry, accompanied her famous muralist husband. Photos of their second wedding (the couple divorced in 1939, only to remarry a year later) in California were captured by American press photographers.

The exhibition reveals Kahlo’s fascination with fashion – as self-expression, political expression and a means for concealing her physical disabilities. She was often photographed wearing traditional Mexican clothing – Tehuana dresses, huipils and rebozos, all accessorized with beautiful beaded jewelry. Under the voluminous skirts and flowing dresses, she was able to hide the injuries that had plagued her since youth. The pre-Hispanic clothing she was so fond of allowed her to express her belief in mexicanidad – the nationalist movement that found its inspiration in pre-Columbian Mexico after the end of the Mexican Revolution.

Kahlo continued to be photographed until her death in 1954. To each photographer she encountered, she became something new – ever present and continually beguiling – but made different through their lens. In the process, she herself became a work of art.

“I insist that Frida was a special being, not a person one ran into every day,” photographer Lola Álvarez Bravo said. “When she spoke, when she moved, when she painted, when she expressed herself, she already was inspiring something. To me, she was like birds and flowers and knitted quilts, a Mexican mood concentrated in an epoch and all expressed through her. She was like that.”

Photographing Frida features images by Lola Álvarez Bravo, Manuel Álvarez Bravo, Florence Arquin, Lucienne Bloch, Imogen Cunningham, Gisèle Freund, Hector Garcia, Juan Guzman, Graciela Iturbide, Peter Juley, Guillermo Kahlo, Bernice Kolko, Leo Matiz, Nickolas Muray, Emmy Lou Packard, Victor Reyes, Bernard Silberstein, Edward Weston and Guillermo Zamora. A fully-illustrated catalogue, Mirror, Mirror: Portraits of Frida Kahlo, featuring an essay by Salomon Grimberg, a noted authority on Latin American art, accompanies the exhibition.