Frida Kahlo: Appearances Can Be Deceiving

Frida Kahlo: Appearances Can Be Deceiving comes to the Brooklyn Museum from February 8, 2019, to May 12, 2019.

Frida Kahlo: Appearances Can Be Deceiving

Park Slope

Frida Kahlo: Appearances Can Be Deceiving comes to the Brooklyn Museum from February 8, 2019, to May 12, 2019.

On our visit, we found the exhibit too crowded for the price of the timed tickets, and a little disappointing. It definitely was no Bowie show at the Brooklyn Museum.

Mexican artist Frida Kahlo’s unique and immediately recognizable style was an integral part of her identity. Kahlo came to define herself through her ethnicity, disability, and politics, all of which were at the heart of her work. Frida Kahlo: Appearances Can Be Deceiving is the largest U.S. exhibition in ten years devoted to the iconic painter and the first in the United States to display a collection of her clothing and other personal possessions, which were rediscovered and inventoried in 2004 after being locked away since Kahlo’s death, in 1954. They are displayed alongside important paintings, drawings, and photographs from the celebrated Jacques and Natasha Gelman Collection of 20th Century Mexican Art, as well as related historical film and ephemera. To highlight the collecting interests of Kahlo and her husband, muralist Diego Rivera, works from our extensive holdings of Mesoamerican art are also included.

Kahlo’s personal artifacts—which range from noteworthy examples of Kahlo’s Tehuana clothing, contemporary and pre-Colonial jewelry, and some of the many hand-painted corsets and prosthetics used by the artist during her lifetime—had been stored in the Casa Azul (Blue House), the longtime Mexico City home of Kahlo and Rivera, who had stipulated that their possessions not be disclosed until 15 years after Rivera’s death. The objects shed new light on how Kahlo crafted her appearance and shaped her personal and public identity to reflect her cultural heritage and political beliefs, while also addressing and incorporating her physical disabilities.

Frida Kahlo: Appearances Can Be Deceiving is based on an exhibition at the V&A London curated by Claire Wilcox and Circe Henestrosa, with Gannit Ankori as curatorial advisor. Their continued participation has been essential to presenting the Brooklyn exhibition, which is organized by Catherine Morris, Sackler Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, and Lisa Small, Senior Curator, European Art, Brooklyn Museum, in collaboration with the Banco de México Diego Rivera and Frida Kahlo Museums Trust, and The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and The Vergel Foundation.

Offering an intimate glimpse into the artist's life, Frida Kahlo: Appearances Can Be Deceiving explores how politics, gender, clothing, national identities, and disability played a part in defining Kahlo's self-presentation in her work and life.

Purchase timed and untimed tickets through Showclix. Members are encouraged to reserve their complimentary tickets in advance.

 

SPECIAL EVENT:

Film: Little Cinema Presents Frida

April 25, 2019, at 7 pm

Join Little Cinema for an immersive screening of Frida (Julie Taymor, 2002, 123 min.), based on the life of the iconic artist Frida Kahlo. Includes live musical performances.

 

 

About Brooklyn Museum

The Brooklyn Museum is one of the oldest and largest art museums in the United States. Its roots extend back to 1823 and the founding of the Brooklyn Apprentices’ Library to educate young tradesmen (Walt Whitman would later become one of its librarians). First established in Brooklyn Heights, the Library moved into rooms in the Brooklyn Lyceum building on Washington Street in 1841. Two years later, the Lyceum and the Library combined to form the Brooklyn Institute, offering important early exhibitions of painting and sculpture in addition to lectures on subjects as diverse as geology and abolitionism. The Institute announced plans to establish a permanent gallery of fine arts in 1846.

In recent years, the Museum has focused on redesigning its galleries and reinstalling its major collections to make them more accessible to the public. Flowing spaces, vivid wall colors, dramatic graphic elements, and multimedia components feature in many of these reconfigured galleries. The Museum opened its spectacularly redesigned front entrance and new public plaza on April 17, 2004. With the nineteenth-century Beaux-Arts facade as a backdrop, a two-story glass entrance pavilion, named the Martha A. and Robert S. Rubin Pavilion and Lobby, provides a sense of direct connection between the interior of the building and the exterior surroundings, while bringing natural light into the formerly dark interior. The new 15,000-square-foot glass pavilion, recalling the staircase of the original McKim, Mead & White entrance, combined with the renovated lobby area of nearly 9,000 square feet, creates an entirely new entrance facility that more than doubles the size of the previous lobby area. Among the amenities is a new, full-service Visitor Center offering information, ticketing, and a range of services to the public.

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