Randuwa II: VMFA: Frida: Beyond The Myth

One of perks of living in DC is that you have so much within your grasp in terms of things to see and do. Baltimore is basically in our backyard. Wilmington, DC, Philadelphia, PA, Cape May, NJ, Richmond, VA...even Norfolk, VA or New York City are doable as a day trip. Yesterday I made my way down to Richmond, VA to visit the Virginia Museum of Fine Art. I was particularly interested in seeing their current focus exhibition "Frida: Beyond the Myth."

I've been to the VMFA many times over the past 30 years, but it's been a little stretch since the last time. To date it, their new multi-level underground parking garage was new to me. You used to park in an open lot on the backside of the original building. The facility has created not only more and better parking, but its design has increased the unity between adjacent museums. Wins all around.

The back entrance which is closest to the parking garage. A terrace extends the cafe to the outside

The reflecting pool comes with a Dale Chihuly sculpture.

For square footage, the VMFA is one of the largest art museums in North America. Not something that most folks would expect. It's had a butt-load of gazillionaire benefactors over the years. Folks like Paul Mellow (who underwrote the construction of the National Gallery of Art in Washington, DC. Among other unique collections, Mellow gave his huge library of Equestrian Portrait painting to the VMFA.

In the past, I've seen some amazing exhibitions at the VMFA, and "Frida: Beyond the Myth" did not disappoint. First off, the museum is free to the public--which outside of DC and St. Louis, is NOT a common expectation. However, there was a $25 ticket charge for the Kahlo show. When I arrived and spoke with the young man at the ticket counter, he asked me if I were,,,,the litany from the website, over 65 (6 months shy!), military, etc....a teacher. A teacher? Yes, I am.

"Do you have your ID?"

"Unfortunately, no."

"Do you have an email?"

"Yes. I do."

"What is it?" I recited it to him, and he said, "Great. The exhibit is free to you."

Well now, someone is going to get an extra cup of raisins in their fruit cake!

The entrance to the exhibit is timed, so I decided to see it first. It was not crowded at all. The gallery was divided into moderately small rooms with walls painted in deep, rich, dark shades of red and blue, and purple and green. Between various galleries large "windows" were incorporated so that you could both look back and forward as you proceeded. The sense I got was that of the human heart with chambers and mysteries, and beyond a place where time is fluid.

The exhibit itself was unlike anything I expected, and I can't even recall an example from the past the compares. The items included were a mix of photos, paintings, sketches, artifacts with photos making up well over 50%. The items were arranged chronologically. And more than a show about a major artist's art, it is a show about the artist herself. It is a love-story not to what Frida created, but to who Frida was. I found it fascinating, intimate, generous, and inspiring.

Here are some of the images:

One of the first photos of Frida at age four, taken in 1911 by her father, Guillermo Kahlo. Born Carl Wilhelm Kahlo in Germany in 1871. He was sent to Mexico to study by his father in 1891 because he could not get along with his step-mother. In 1984 he changed his name to Guillermo and solicited Mexican citizenship. He was by profession a photographer. Frida always described him as Hungarian and Jewish; however, he was born in Germany from a long line of German Lutherans.

A family portrait taken by Guillermo in 1926. Can you see her? Standing at the far left her left arm resting on her father's shoulder. She was never stigmatized by her family for dressing as a boy or man.

"Urban Landscape," 1925

Described in the wall text as an example of her embracing modernity with its stark lines and industrial smoke stacks over traditional rural and bucolic themes popular in contemporary Mexican painting. What I find astounding is the complete and total lack of consideration of the blood red telephone pole like a cross on a hill... I see a statement on the dwindling role of religion in the "modern" world. But that's the amazing power of art, right? The more you know, the more you can find meaning.

"Self-Portrait In A Velvet Dress," 1926

This is the first known self-portrait, Frida painted.

One gallery image with the "window" on the left. Images that relate to an horrific accident that Frida barely survived while riding on a bus. She was with her first boyfriend who, in spite of his own injuries, insisted that the medics who arrived treat Frida. This after they had decided she would not survive her injuries. The residual effects haunted her health for the rest of her life and contributed to her premature death at the age of 47.

"Untitled: (Frida and the Miscarriage)," 1932

After marrying fellow artist Diego Rivera, Frida moved to Detroit with Diego while he worked on his master commission of a mural for the Detroit Institute of Art. It was then that she suffered the first of two miscarriages. Later, she would choose to terminate a third pregnancy.

"Cristina and Frida Kahlo," circa 1934-1935

Unknown photographer

As Diego's career continued to grow, Frida also continued to create art. The couple's marriage ended while they were living in New York City after Diego had an affair with Frida's older sister, Cristina.

"View of Central Park, the Zoo," 1932

This watercolor sketch was made from their apartment.

"My Dress Hangs There (My Dress Was Hanging There [New York])," 1933-1938

This painting was Frida farewell to New York and was inspired by her disdain of the politics she experienced there both personal and public. The disillusionment of her marriage, the destruction of Diego's mural at Rockefeller Center for including an image of Lenin in the pantheon of individuals. It is filled with idea and metaphors.

"Frida with Olmeca Figurine, Coyocán," 1939

Nickolas Muray (1892-1965)

Frida was not without her own paramours. Hungarian photographer, Nickolas Muray certainly struck her fancy.

"Frida with Magenta Rebozo," 1939

Nickolas Muray (1892-1965)

This is my favorate portrait. She was 32. Her health was strong. She was living and working back in Mexico, the toast of the avant garde.

"Frida with Fawn, Granizo," 1939

Nickolas Muray (1892-1965)

"Frida Facing a Mirror with Two Hairless Dogs," 1944

Lola Alvarez Bravo (1907-1993)

"Sun and Life," 1947

I love this work because it contains components that speak to surrealism and perhaps the contemporary Mexican artist Remedios Varo (1908-1963) whom she would surely have been familiar, but it also contains very evocative feminist-erotic imagery.

"Self-Portrait with Monkey," 1949

The only other self-portrait of Frida's in the show.

"Otomí Huipil Blouse Embroidered with Deer and Bird Designs," 1951

unknown Otomí artists

This example of one of her blouses reminds you of just how petite a person she was.

"Frida Painting Naturaleza Viva," 1951

Friday spent much of the last 4 years of her life in bed seeking relief from excruciating back pain, residual suffering from that long ago bus crash. Undeterred, she made herself continue to paint producing mostly still life's featuring tropical fruit. In this un-credited photo, Diego Rivera is at the side. In spite of their divorce and his many infidelities sexually, he remain profoundly devoted to her. Upon her death, he turned her home into a museum to honor her life and work.