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My only complaint about this book is that the image on the cover of the 2002 edition is not Frida Kahlo it's the actress Salma Hayek who portrayed Frida Kahlo in the 2003 Miramax film "".

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His personal collection consists of more than 450 photos, some of which were taken by professional photographers such as: Manuel Alvarez Bravo, Tina Modotti, Julien Levy, Nickolas Muray, Lucienne Bloch, and Frida's Father Guillermo Kahlo.

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FRIDA KAHLO (1907-1954) is the most famous Mexican woman artist on the contemporary art scene. In our society, where the media focus is on sex and violence, certain autobiographical elements of Kahlo's life -- her physical handicaps (as a result of an accident when she was eighteen), her marriage with the world famous muralist Diego Rivera, her husband's infidelities, Kahlo's affairs (both with men and women), and her unhappiness at not being able to bear a child -- provoke psychological discussions of her work.

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Angel Otero – Kavi Gupta Gallery

The exhibition itself actually opens not in the Garden Court but rather in the galleries, and with a wall-sized photograph of the newlywed Mexican artists sharing a kiss by the courtyard scaffolding; the image is a visual and conceptual enticement consistent with (just-retired) director Graham Beal’s self-professed interest in presenting human stories to engage a general audience rather than emphasizing more scholarly art-historical narratives. This makes the show an unmistakable crowd-pleaser, but it also means that biography often overshadows historical and cultural details, particularly in regards to Kahlo whose work is the popular draw. An audio tour featuring just seventeen artworks largely supplants the spread of more extensive wall texts and individual labels that one might expect in a show of nearly seventy works by both Rivera and Kahlo produced just before, during, and in the years following their time in Detroit. The voices of Beal, Rosenthal, and a number of other experts from a variety of fields provide engaging perspectives on a clear narrative, but also leave many of the rich artworks unaddressed. An accompanying catalogue featuring eight essays provides more information about the artists, their subjects, and the larger historical context.

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This volume focuses on the Mexican artist Frida Kahlo

Kahlo was influenced by art forms indigenous to her country, with the use of pre-Columbian imagery and concepts in such works as "My Nurse and I" (1937), where Kahlo is held in the arms of a nurse with an Olmec mask; in "Tree of Hope" (1946), images of the sun and moon, function as metaphors for the duality of life, from pre-Columbian mythology; "The Love Embrace of the Universe" (1949), where, as the title suggests, Frida and Diego are in the arms of the universe personified as a pre-Columbian goddess; and in "Self-Portrait on the Border Between Mexico and the United States" (1932), Kahlo stands besides the sculptures and a temple from the pre-Columbian world. Kahlo was a third-world cultural nationalist long before that term was coined.

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Frida Kahlo's Colorful Clothes Revealed for the First …

With the recent rediscovery of Frida’s personal collection of clothing and objects, it is clear that her costumes became more elaborate as Kahlo became more incapacitated. It was Frida Kahlo’s time-capsule possessions, not her paintings, which initially captured Ishiuchi Miyako’s attention. The Japanese photographer comments, “Frida always receives attention for her extraordinary aspects, but coming in to her ordinary side greatly sparked my imagination and inspired me.”

Imagine the dress up fun we could have in Grandma’s attic, if Grandma were Frida Kahlo (1907 – 1954) and the attic was a sealed off Mexico City bathroom where Grandpa - artist Diego Rivera, natch - had stashed all her stuff. “If I met her, I wouldn’t ask any questions,” the

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"What the Water Gave Me" records an intimate, reflective moment in time in which Kahlo reviews the major concerns of her life as she takes a bath. We can only see her legs, partially obscured by bath water. We know it is Frida, because the tips of her feet protruding from the water reveal her deformed right foot. It is cracked open -- an obvious reference to her accident and to later operations. We see a multitude of images that all have some relation to Kahlo's personal life: a portrait of her parents; her dual heritage, Indian and European, represented by two naked women (one white, the other Indian) floating on a sponge; and objects like a bleeding heart, a dead bird upon a tree, a skeleton seated upon a mound, and a naked, drowned Frida, her Tehuana Indian dress floating nearby suggest both psychological and physical suffering -- the pain of her broken body and the ever-present specter of death.