Ever since I started using an iphone for photography instead of my old dslr camera I have done much less street photography. But recently I took trips to Los Angeles and Las Vegas and I was inspired to entertain that genre again. Here are some of the images I came up with.
I often will go back into old sketchbooks and continue working on images, no matter how old they are. This is usually because it is a line drawing that I am now interested in painting. It’s a mystery why some images don’t catch my imagination to go farther than the original drawing until many years or decades later. But when the spirit moves I usually act on it. Here are a selection of drawings where I did just that.
Move the slider from left to right to see the before and after versions.
Why do I love Frida and her art? Let me count the ways. She’s a story teller and a truth teller. She’s creatively, emotionally, socially, politically and relationally fearless and courageous. She’s resilient and persistent. She’s independent. I went to the Dallas Museum of Art this week to see the Exhibition ‘Frida: Beyond the Myth’. It’s organized as a chronological review of her life and art and uses photographs, drawings and paintings to examine and explain how her biography was so important to her creativity and resulting artwork.
Frida with Cigarette,, Altavista, 1941 Nicolas Muray, gelatin silver print
This stunning photo shows how truly determined and successful she was in being herself, fully and completely, with no apologies and no regrets. She had immense pressure to conform throughout her life and at every turn she chose to stand her ground and say, ‘This is me, take me or leave me’. This led her to being respected around the world by thousands of artists and art patrons, even as she confronted their culpability in bending to the status quo that she herself would not.
The seminal event of her life was a trolley/bus accident when she was just 19 years old. She suffered a fractured spine, broken ribs and collarbone, dislocated shoulder, crushed right foot and multiple fractures in her right leg. She was not expected to survived and as a matter of fact, her then boyfriend, who was also in the accident and injured, though less severely, advocated assertively for the doctors to work hard to save her when the inclination was that she was probably not going to make it.
The Accident, 1926
Self Portrait in a Velvet Dress, oil on canvas, 1926
Kahlo is known for her self-portraits and here is her first known one. Painted a year after the accident she gave it to her boyfriend Alejandro Gómez Arias in appreciation and in hopes of keeping her in his thoughts while she continued to recover.
Years later she was romantically attached to Diego Rivera, one of the most famous of all Mexican muralists. Upon finding out she was pregnant Rivera demanded she get an abortion, which she did. It was the first of many. This image illustrates the severe depression she suffered as a result. It is one of the first where she illustrates a cycle of life, something she returns to again and again.
In the early 1930s Diego Rivera was invited to create a number of murals around the United States. They all ended up being controversial but none more so than his mural at Rockefeller Center in New York City. It depicted the heroes of the communist revolution in the Soviet Union and around the world. This of course did not go over well with the ardent capitalists of New York, especially the Rockefellers. The mural was condemned and covered up after many many months of work on his part.
My Dress Was There Hanging (New York), oil and collage on masonite, 1933-1938
Frida was incensed by what she saw as the blatant hypocrisy of America in condemning Rivera’s work while promoting itself as a paragon of Christian humanity toward others. If that was so, why were the unemployed allowed to starve? That and many other questions haunted her and this painting was her effort to express that by showing the disparity between the collaged unemployed below with the ostentatiousness and seduction above.
My Dress Was There Hanging (New York), close up
Frida in front of the Unfinished Communist Unity Panel, New Workers School, 1933, Photograph by Lucienne Bloch
One thing Kahlo was above all else was direct. She wasn’t obtuse or hidden in her visual story telling. This didn’t always work well for her. In 1939 Clare Booth Luce commissioned Kahlo to created a portrait of remembrance for the mother of Dorothy Hale, an actress who had committed suicide by jumping out of a New York Skyscraper. Kahlo did not paint a portrait of remembrance, she painted a very graphic and direct image of Hale falling to her death. Luce wanted to destroy the painting as it was deeply disturbing to her but was talked out of it.
The Suicide of Dorothy Hale, 1939, oil on masonite with hand painted frame
The Suicide of Dorothy Hale, close up
Kahlo continued to paint self portraits throughout her life but they changed as she got older. No longer do you see her refined and elegant with her hair up. Now she is starting to show herself with her hair down, more casual and unkempt, something that had to do with her being bedridden in pain but also because she no longer was driven to adorn herself, to be ‘attractive’ to Rivera or anyone else.
Self-portrait with Monkey, 1945, oil on masonite
Self-Portrait with Loose Hair, 1947, oil on Masonite
As she became less mobile she spent more and more time painting symbolic images and still lifes. That didn’t mean she gave up imbuing her images with meaning. As you can tell in Sun and Life the symbolism is strong, with a fetus, labia images and shooting phalluses. This was painted not long after she had her 4th abortion so it is likely it all refers back to the complicated sexual and emotional relationship she had with Rivera.
Sun and Life, 1947, oil on Masonite
Sun and Life, close up
In this still life you can see similar imagery reflecting her identity. The sensual cut open fruit, the Mexican flag and native parrot all show parts of her, as does the flag impaling the fruit, not unlike how she was impaled in the accident so many years before.
Still Life with Parrot and Flag, 1951, Oil on masonite
For the last years of her life she was completely bedridden, unable to go anywhere. She was in constant pain and the various surgeries she underwent through the years had all failed to alleviate it. She painted from her bed until she could no longer. She died in 1954 at the age of just 47.
Frida Painting with Diego Rivera looking on, 1951
In the end it has to be said Frida Kahlo led a very tortured and sad life in many ways. She would agree, not being one to have a pretend happy disposition when it wasn’t warranted. There is a type of person who wears their heart on their sleeve. Kahlo was like that but instead of on her sleeve she wore it in her paintings. They are masterful dissections of a deeply wounded soul, baring the most intimate of feelings for all the world to see. She was one of the first true autobiographical artists and her influence in the art world has been felt ever since.
Frida with Magenta Rebozo, 1939, Photograph by Nickolas Muray
I have continued to draw with my Copic Gasenfude ink brush lately. Something about the line width control I can get and, at the same time, the unpredictability of the line makes me enjoy both the act and result of drawing.
And as you can see I continue to draw in church. The sermons have been particularly uninspiring since our new Pastor arrived 4 months ago so I am very glad to have my sketchbook with me. The only problem is not paying attention to the sermon, which I used to be able to do but only if it’s brain stimulating in some way. When they aren’t I tend to zone it out.
We lived in Tulsa, Oklahoma for many years and attended First Baptist Church of Tulsa. The set up of the altar and stage combined with where we sat made the Pianist front and center to my line of sight. As a result I drew her a lot. The thing I remember is how quietly talented, poised and beautiful she was. After a while I talked to her and told her I drew her and showed her a few of the drawings. But sometimes I wouldn’t because I usually was drawing fast and often exaggerated or distorted her looks and I didn’t want her to think I thought she really looked like that. She didn’t.
