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Unbound: Contemporary Art After Frida Kahlo

Images

Frida Kahlo, Arbol de la Esperanza (Tree of Hope), 1946. Oil on Masonite; 22 x 16 in. (55.9 x 40.6 cm). Private collection, Chicago. © 2014 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

Photo: Nathan Keay, © MCA Chicago

Daniela Rossell, Untitled (Ricas y famosas) (rooftop), 1999. Chromogenic development print; 50 x 60 in. (127 x 152.4 cm). Collection Museum of Contemporary Art Chicago, gift of The Disaronno Originale Photography Collection, 2001.12. © 1999 Daniela Rossell

Photo: Nathan Keay, © MCA Chicago

Frida Kahlo, La venadita (little deer), 1946. Oil on Masonite; 9 x 12 in. (22.9 x 30.5 cm). Private collection, Chicago

© 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York

Thomas Houseago, Untitled, 2008. Plaster, hemp, and iron rebar; 52 x 110 x 39 in. (132.1 x 279.4 x 99.1 cm). Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange and restricted gift of the Collectors Forum, 2009.7.a–c. © 2008 Thomas Houseago

Photo: Nathan Keay, © MCA Chicago

Martin Soto Climent, Luminous Flux, 2010. Wood, nylon stockings, shoes, glass, faux pearls, satin undergarments, and DVD; overall: 38 x 15 3/4 x 288 in. (96.5 x 40 x 731.5 cm). Collection Museum of Contemporary Art Chicago, restricted gift of The Buddy Taub Foundation, 2012.122.a–h. © 2010 Martin Soto Climent

Photo: Image courtesy of the artist and Clifton Benevento

Shirin Neshat, Turbulent, 1998. Black-and-white video installation; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of Susan and Lewis Manilow, 2000.22

© 1998 Shirin Neshat
A large and neat stack of white paper with a black border sits on a concrete floor.

Felix Gonzalez-Torres, "Untitled" (The End), 1990. Print on paper, endless copies; 22 in. (at ideal height) x 28 x 22 in. (55.9 x 71.1 x 55.9 cm) (original paper size). Collection Museum of Contemporary Art Chicago, restricted gift of Carlos and Rosa de la Cruz; Bernice and Kenneth Newberger Fund, 1995.11. © The Felix Gonzalez-Torres Foundation, courtesy of Andrea Rosen Gallery, New York

Photo: Nathan Keay, © MCA Chicago

Jack Pierson, The Call Back, 1995. Chromogenic development print, edition 2 of 25; 20 x 30 in. (50.1 x 76.2 cm). Collection Museum of Contemporary Art Chicago, restricted gift of The Dave Hokin Foundation, 1995.119.1. © 1995 Jack Pierson

Photo: Nathan Keay, © MCA Chicago
A white sheet with a blood-red imprint of a body hangs in a stone niche.

Ana Mendieta, Untitled (from the Silueta series), 1973–77. Silver dye-bleach print; sheet: 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm). Collection Museum of Contemporary Art Chicago, gift from The Howard and Donna Stone Collection, 2002.46.12. © The Estate of Ana Mendieta Collection

Photo: Nathan Keay, © MCA Chicago

Cindy Sherman, Untitled #153, 1985. Chromogenic development print, edition 4 of 6; sheet: 65 1/2 x 47 1/2 in. (166.4 x 120.6 cm). Collection Museum of Contemporary Art Chicago, gift of Gerald S. Elliott by exchange, 1985.41

Image courtesy of the artist and Metro Pictures, New York

Lorna Simpson, She, 1992. Color Polaroids and engraved Plexiglas plaque; 29 x 85 1/4 x 2 in. (73.7 x 216.5 x 5.1 cm). Collection Museum of Contemporary Art Chicago, gift of Judith Neisser, 1996.3.a–e. © 1992 Lorna Simpson

Photo: Nathan Keay, © MCA Chicago

About

Frida Kahlo is one of the most famous artists in the world. Her reputation and persona have grown immensely since her death in 1954, yet posthumously she has been turned into a stereotype of Latin American art. This predicament, along with her celebrity status, often overshadows the confrontational and boldly transgressive nature of her paintings, and ultimately undermines the revolutionary intent of her work. At the time it was made, Kahlo’s unabashedly intimate portrayal of her physical and psychological experiences and her appropriation of Mexican folk art aesthetics challenged the bourgeois European mainstream. The scale and content of her work also stood in opposition to the monumental, nationalistic history painting being produced by her male Mexican contemporaries. Her work subverted accepted notions of gender, sexuality, social class, and ethnicity, and was prophetic in anticipating the broader cultural concerns—postcolonialism, feminism, civil rights, multiculturalism, and globalization—that reached a crescendo in the 1960s and continue to be relevant today.

In 1978, the Museum of Contemporary Art Chicago presented Kahlo's first solo museum exhibition in the United States. Using two of the works included in the original 1978 exhibition, Unbound: Contemporary Art After Frida Kahlo brings her work into a dialogue with contemporary art. The selected artists in this exhibition share Kahlo's spirit of rebellion and similarly assert themselves against the patriarchy as they insert their voices into dominant artistic discourses. This exhibition highlights four themes in Kahlo's paintings to examine their continued relevance to international artists: the performance of gender, issues of national identity, the political body, and the absent or traumatized body. The exhibition includes work by: Francis Alÿs and Enrique Huerta, Margot Bergman, Sanford Biggers, Louise Bourgeois, Martin Soto Climent, Eugenio Dittborn, Yang Fudong, Julio Galan, Nan Goldin, Thomas Houseago, Frida Kahlo, Nelson Leirner, José Leonilson, Ana Mendieta, Beatriz Milhazes, Donald Moffett, Celia Alvarez Muñoz, Wangechi Mutu, Shirin Neshat, Helio Oiticica, Catherine Opie, Gabriel Orozco, Angel Otero, Jack Pierson, Rosângela Rennó, Daniela Rossell, Doris Salcedo, Cindy Sherman, Lorna Simpson, and Valeska Soares.

Unbound: Contemporary Art After Frida Kahlo is organized by Curator Julie Rodrigues Widholm and Marjorie Susman Curatorial Fellow Abigail Winograd at the Museum of Contemporary Art Chicago.

Funding

Support for Unbound: Contemporary Art after Frida Kahlo is generously provided by The Pritzker Traubert Collection Exhibition Fund. Major support is provided by Cari and Michael Sacks. Additional generous support is provided by Ugo Alfano Casati and Jorge Cauz, and the Consulate General of Mexico.

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