Frida Kahlo. “Arbol de la Esperanza (Tree of Hope),” 1946
RECOMMENDED
Reprising two of the paintings that appeared in Frida Kahlo’s solo exhibition at the MCA in 1978 (her first in the United States), “Unbound” presents Kahlo as a political activist and art world transgressor who laid the foundation for many discourses that continue in the practices of more than thirty contemporary artists in the exhibition. Curators Julie Rodrigues Widholm and Abigail Winograd look beyond Kahlo’s celebrity status and tumultuous personal life to illuminate her artistic output as indicative of a preemptive concern for cultural issues including globalization, feminism and civil rights. Themed around treatments of bodies as both political entities and affective forces, Kahlo is here contextualized by artists of color, women and LGBTQ perspectives who boldly comment on the performance of gender as well as oppressions and injustices such as homophobia, violence against women and the AIDS epidemic.
Kahlo’s “Arbol de la Esperanza (Tree of Hope),” is a double self-portrait where she appears as a prostrate figure bleeding from incisions on her back, while a second self depiction is seated beside her wearing indigenous Mexican folk garb and holding a flag which reads “tree of hope, keep firm.” Hung on a blood-red wall, this painting is surrounded by other sculptures and images that reflect upon sorrow, physical or emotional trauma and loss through corporeality or absence.
Ana Mendieta. “Untitled (from the Silueta series),” 1973-77
Loss is most palpable while viewing three photographs from Ana Mendieta’s lovely, devastating “Silueta”series showing the outlines of Mendieta’s body impressed into her surrounding landscape. Kahlo and Mendieta, two of the most groundbreaking female artists of the twenty-first century, died tragically at the ages of forty-seven and thirty-six, respectively. Also featured are quiet conceptual works such as Valeska Soares’ trompe l’oeil sculpture, “Duet III.” Two pillows, hand-carved in white marble, are intimately arranged on the floor; the recent absence of the lovers’ bodies are implied by a pair of head-shaped indentations in the stone.
While not explicitly about “othering,” this exhibition provides a somber overview of contemporary art that resonates Kahlo’s aims to disrupt accepted notions of gender, class, sexuality and ethnicity. (Erin Toale)
Through October 5 at the Museum of Contemporary Art, 220 East Chicago.
Related Stories
Exhibiting a Lesser-Known Pioneer of Contemporary Photography: A Review of "Picture Fiction; Kenneth Josephson and Contemporary… A survey of the pioneering, Chicago-based experimental photographer includes his work alongside the work of his peers.
Art That Refuses to Be Walked All Over: A Review of Jessica Campbell at the Museum of Contemporary Art Campbell has a rare gift for revealing harsh truths with dark, funny, sumptuously textured pictures.
Epic Drawings Draw Attention to Contemporary Calamities: A Review of Rick Shaefer at the Haggerty Museum of Art Massive graphite triptychs illustrate the plight of refugees through a melange of art historical references.
Color-Coding Chicago's Racial Geographies: Amanda Williams at the Museum of Contemporary Art Showing her “Color(ed) Theory” project alongside new work.
When the Personal Is Political, and Vice Versa: A Review of “The Many Hats of Ralph Arnold: Art, Identity & Politics” at the Museum… A lesser-known flaneur of mass media (and a longtime Chicagoan) makes constructions that bring personal and cultural intersections into view.
Contending With The Internet As Medium And Infrastructure: A Review of “I Was Raised on the Internet” at the Museum of Contemporary Art "I Was Raised on the Internet" poses the question of the internet not just as a communication medium where social media, virtual identities and corporate control take hold, but as an infrastructure that constitutes a whole new reality.
