Showing posts with label Diego Rivera. Show all posts
Showing posts with label Diego Rivera. Show all posts

Wednesday, June 25, 2025

Beat The Heat

Specific exhibitions almost always determine my museum-going, but the prospect of air-conditioned sightseeing with friends from Colorado lured me to MoMA during an unusually sweltering heatwave.


I'm not a big fan of abstract art, but "Jack Whitten: The Messenger" made a huge impression, and not just because of the enormous scale of much of his work. The 78-year-old mixed media artist, whose studio had been located in Lower Manhattan since 1962, saw the Twin Towers go up and up . . . and then come crashing down.

Self-Portrait (1979)
After the 2001 terrorist attacks, he spent the next five years creating this mostly acrylic painting which incorporates blood, hair, ash and dust. It actually made me shudder.

"9.11.01" (2006)
With the exception of Whitten's ghostly self-portrait and this tribute to Jean Michel Basquiat, the only indications of his African-American ethnicity are found in his titles.

"For J.M.B" (1988)
"Memory Container" (partial, 1972)
"Golden Spaces" (partial, 1971)
"Four Wheel Drive" (1970)
The intricacy of his mosaic work astonishes.

"Black Monolith Il (Homage To Ralph Ellison The Invisible" (1994)
"Flying High For Betty Carter" (1998)
"Data II" (1991)
"Blue Chips: A Dedication To Jackson Pollock" (2006-07)
"Quantum Wall, VIII (For Arshile Gorky, My First Love In Painting)" (2017)
You really can't go wrong with MoMA's permanent collection although my youngest companion spent more time looking at her phone than the art that that attracts visitors from all over the world.  New millennium kids!

"Still Life with Three Puppies" by Paul Gauguin (1888)
Has an anarchist ever been depicted with so much flair?

"Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of M. Félix Fénéon in 1890" by Paul Signac (1890)
Self-Portrait by Oskar Kokoschka (1913)
Several works reminded me yet again how much our south-of-the-border neighbor has contributed to 20th century art.  I really would like to return to Mexico City.  Five days wasn't nearly enough.

"My Grandparents, My Parents, and |" by Frida Kahlo (1936)
"Cubist Landscape" by Diego Rivera (1912)
"Echo of a Scream" by David Alfaro Siqueiros (1937)
"Head of the Montserrat, II" by Julio González (1942)
Will anyone ever paint a Tesla supercharging station so evocatively?

"Gas" by Edward Hopper (1940)
I was surprised to see a kitty in "Eat," Andy Warhol's 1964 collaboration with Robert Indiana. Twenty seconds of the 45-minute "underground film" was plenty.


"Portrait of My Mother" by Florine Stettheimer (1925)
I never would have guessed who painted this Depression-era poet.  His left-wing politics likely influenced the artist, triggering an FBI investigation during the early 1950s.  By that time her style had evolved considerably.

Kenneth Fearing by Alice Neel (1935)
"Dancer in the Mirror" by Max Pechstein (1923)
The Documentation Center in Nuremberg cites this artist's work as a prime example of what the Nazi's called "degenerate" art. 
 
"Leonie" by Otto Dix (partial, 1923)
"Deodorized Central Mass with Satellites" by Mike Kelley (1987) occupies an entire gallery. He sewed the stuffed animals face-in to dampen the cute factor!


Hyundai partners with MoMA to showcase the work of emerging artists and to promote the car company's credit card.  This is America, after all.


Tuesday, March 28, 2023

Bad Mexicans: Race, Empire & Revolution in the Borderlands (4*)

 


Kelly Lytle Hernández won the Bancroft Prize for her account of the (mostly) men who fomented the Mexican Revolution while my tour of the nation's capital city was coming to an end.  Although I rarely read history books, I thought it would help me overcome my dawning (and inexcusable) ignorance about a childhood neighbor.  Mission accomplished, but like The 1619 Project, Bad Mexicans left me utterly dismayed with the pervasiveness of white supremacy in American history.

Not that Ricardo Flores Magon, the soul of the Mexican Revolution, would have been surprised,  A closeted anarchist who eventually declared "solemn war on Authority, Capital and Clergy" he and his compatriots, the majority of whom were socialists, formed the Partido Liberal Mexicano (PLM ) party  and published Regeneración, a radical newspaper that raised the consciousness of Mexicans on both sides of the border.  The reader quickly realizes that today's immigration problems haven't changed much in more than a century and that Mexican history can't be understood without American history and vice versa.

And what a sad, exploitive history it has been, aided and abetted by both the Mexican and American governments.  The magonistas as they were known rebelled against dictator Porfirio Diaz, who sold his country's natural resources and labor to the Yankees like the Guggenheims, the Hearsts and the Rockefellers.  His corrupt government justified killing as many as 10,000 people,  justifying these murders with ley fuego or "law of flight" which gave his lackeys authority to shoot rebels in the back.

The U.S., for its part, passed "Juan Crow" laws that stripped Mexican Americans of their rights and property.  Hernández describes these laws in the context of how the US government used them to try to deport magonistas living in the U.S. (Magon himself holed up in St. Louis, of all places, for a time) and acknowledges the power (and occasional) fairness of our state court system (even in Texas!) which ruled that Mexicans have a right to become naturalized citizens.  She also exposes the US Post Office's efforts to keep the Diaz government informed of the magonistas' whereabouts and activities.  Ironically, though, the complicity of the postal authorities led to the treasure trove of letters that enabled Hernández to document the magonista movement so thoroughly.  She found most of their illegally obtained correspondence archived by the Mexican government.

Ultimately, the Porfirato collapsed after the aging dictator for whom it was named made a strategic error by making it more difficult for Americans to profit from their South of the Border exploitation.  The U.S. refused to intervene as the revolutionary seeds sown by the magonistas began to ripen, and anti-Americanism in Mexico reached a fever pitch.  A civil war ensued after Franciso Madero, the rich, Berkeley-educated, liberal “spiritist” who sought counsel from his dead brother was assassinated just two years after succeeding Porfirio in a democratic election.  The magonistas, much diminished in number as soon as Magon came clean about his anarchism, flamed out after ill-advisedly but understandably embracing a little-known 1915 invasion of Texas by Mexican nationals who aimed to unite people of color against Yankee tyranny.  They were slaughtered and Magon was convicted of sedition.  He died in prison, although when he was repatriated to Mexico, he was given a state funeral.

Hernández has given Magon his belated due but you can be damn sure that American children will never be taught this history.  If they were, how they could they ever pledge allegiance again?  

Ricardo Flores Magon by Diego Rivera (1947)


Tuesday, March 7, 2023

Viva La Vida

I have to confess an exhibit of Frida Kahlo's work at the Norton Museum didn't impress me much, but a visit to La Casa Azul (The Blue House) changed that completely.  The paintings exhibited in her family home where she took her first and last breaths--and where she developed polio as a child--are less narcissistic than the self-portraits which perfectly reflect her modernity.  "Viva La Vida" certainly embodies her sensual spirit.


Her father, a photographer, emigrated from Germany.


I love her color palette, whether she uses it for still life or abstraction.



This poster of her former lover hangs in one of the downstairs rooms.  He looks a little crazed and his hair isn't entirely gray, so it must have been created while he was still rabble rousing in Russia.


You can see here why she called her home La Casa Azul.  The blue is a lot like the one Yves Saint Laurent used at Jardin Majorelle, which has a similar feel.


Kahlo's tchotchke collection is non-pareil!







Her colorful dining table and a chair occupy much of an impractical kitchen. 


Nelson Rockefeller gave Kahlo this easel.


It looks as if she was good at playing both sides of the fence, something that seems to have been true of her sexuality as well.  Just check out Salma Hayek as Frida doing the tango with Ashley Judd in Julie Taymor's biopic. 


The New York Botanical Gardens "re-created" Kahlo's studio in the Haupt Conservatory in 2015.  It also exhibited five small paintings.  After all the hype, I left feeling ripped off. But La Casa Azul really exceeded my expectations.  I liked it almost as much as Anahuacalli which is about a 20-minute drive away.  Many tourists purchase tickets to see them both on the same day but I'm glad we did the sights separately.



 I wonder how Kahlo got up and down the stairs to her studio?


She napped in this bedroom.  That's a death mask.


Kahlo died at the age of 47 not quite a year after I was born, just a thousand miles north. The large Mesoamerican urn contains her ashes.


A portrait of Diego Rivera, whom she married twice, hangs in her bedroom.  They never lived together in this house.


"Wake up sleeping heart" is stitched in needlepoint on her night bed pillow.


The grounds of La Casa Azul are as colorfully decorated as the interior.












Another building houses a display of Kahlo's garments.


She drew this--"Feet, why do I want them if I have wings to fly?"in her diary--near the end of her life, around the time her leg was amputated.




Kahlo's corset supported her spine and looks like armor.


She titled this drawing, discovered less than 20 years ago in her bathroom, "appearances can be deceiving."  Indeed.  I wonder what she would make of her fame now, so long after her death?