Diego Rivera once characterized Frida Kahlo as the first woman in the history of art who, with a directness and brutal clarity, focused on subjects exclusively to do with women. Late 20th-century perceptions of Mexican art are now dominated by Kahlo. Her stormy relationship with the painter Diego Rivera is mirrored in many of her stunning paintings.
This book compares the art, lives, and achievements of three great artists of the Americas: Emily Carr of Canada, Georgia O'Keeffe of the United States, and Frida Kahlo of Mexico. Udall shows how each artist searched for an authentic, personal identity and analyzes in detail the issues these women faced in relation to nationality, nature, gender, and the creation of a personal mythology.
Since its inception, the women's movement has harnessed the power of the image to transmit its message. This comprehensive survey traces the ways in which feminists have shaped art and visual culture from the 19th to the 21st centuries.
A comprehensive treatment of the lives, ideas and art of the remarkable group of women who were an essential part of the Surrealist movement. Agar, Carrington, Fini, Kahlo, Oppenheim, Tanning and many others became embodiments of their age as they struggled towards artistic maturity and their own 'liberation of the spirit' in the context of the Surrealist revolution.
Showcases a selection of works which illustrate the breadth and depth of queer art from around the world. Exploring identity, eroticism, relationships, hidden desires, love and gender, it tells the story of queer art from 1900 to the present, revealing how experiences have also been shaped by class and ethnicity, and how art itself has played a key role in changing attitudes and crystalising identities.
'The Last Taboo' argues that body hair plays a central role in constructing masculinity and femininity and sexual and cultural identities. The chapter "On Frida Kahlo's Mustache" looks at the painting "Self-Portrait with Cropped Hair" and its criticism.
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Although Kahlo's images of woundings to the female body have been widely understood to represent traumatic physical and psychic pain (childhood illness, the life-threatening accident in which a bus rail pierced her body and the dozens of operations that followed, her elective abortions and bloody miscarriages, Rivera's frequent sexual betrayals), ... they also suggest traumatic experiences of sexual abuse that were "unsayable" in any other form and were perhaps not even available to conscious thought.
"Complex and layered, Frida's appeal and relatability can be attributed to the fact that she could never be defined by one thing. Simultaneously feminist, communist, queer, disabled, gender fluid, revolutionary, unapologetically herself and most importantly proudly Mexicana, it is no surprise that Frida remains a contemporary icon to so many marginalised groups that never receive the adequate mainstream representation they deserve."
"Kahlo painted a feminine reality which makes visible so much that has remained hidden in women’s lives. Although these concepts were clearly not part of Kahlo’s consciousness, much of her work is a visualization of the theme that the personal is political."