Frida Kahlo Female Body Artworks - Essay Example

Frida Kahlo Female Body Art works Insert Name Course Professor’s Name Institution Date In actual fact, Frida Kahlo’s work of art pertaining to the female body brings forth a contention in which discourses pertaining to utopia take centre stage. Frida Kahlo’s work of art is extensively deemed a reflection of her life experiences and the patriarchal environment she grew up in. The revolutionary period in which her works were produced offers a substantial setting that substantiates the various discourses which are based on the historical and cultural revolution in Mexico. Although, Frida Kahlo’s art was prominent during the surrealism period it is apparent that her focus was explicitly on the female body which signifies the despicable violations alluded to her and the plight of Mexican women during and before the Mexican revolution. The Surrealism movement was chiefly an instrumental force during her time that sought to automatically express thematic concerns social, political and cultural. Unlike the precedent art movement of Dadaism, Surrealism disregarded tradition and embraced characteristic cerebral and irrational aspects. It is from this background that Frida Kahlo art focuses on the female body as a symbol which informs her concerns of matriarchal oppression, naturalism, patriarchal dominance and modernization. The female body is the core of sporadic discourses that indeed are motivated by the cultural and political forces that were dominant in the period of Kahlo’s lifetime. Although Kahlo is inclined to the theme of women oppression; other than gender parity there are other influences since the society was informed by political and social norms which were propagated by the authorities in the related Mexican history dating back to pre-revolution eras (Haghenbeck, 2012). For instance, in the painting My Dress Hangs There, the predominant discourse is mainly anti-imperialism in which industrialized America and European themes are featured significantly. This work was produced in New York and depicts a poster of a Hollywood icon, Mae West in the background. This illustration highlights the prominence of capitalism in industrial America and its wasteful expenditure through the various stylistic and symbolic makers. The uncommon dark palette creates a shadowy radiation over the urban stretch out. The artistic technique wherein abrupt shift from one image to a different one with use of newspaper clippings, photographs of military parades and depression-era food lines are all indicators of this ravish and destructive socio-political American bureaucracy. The city is an industrial area with populous masses and equipped with machinery. This is defiance from the native America’s organization and culture. Kahlo’s lifestyle as an immigrant from Mexico is subject to his new culture and overtakes her native way of life absolutely (Taylor, 2006). The pollution emanating from steamboats and the machinery are severely impacting on the environment negatively causing a soot skyline overhead and uncontainable fire razes numerous buildings and an authoritative dollar is visible from a church window which is an indication of the money economy. In addition, the garbage container overflows with waste hence disregard for the aesthetic value of the land and its degradation. It is explicitly evident that the city in new order and amidst chaos due to cultural clash between industrial America and native America. The entirety of the scene is an absolute description of the rampant wanton evils and surplus of the capitalism industry and consumerism. Amidst the chaos and the progressive change, the traditional garment of Zapotec women, an illustriously coloured Tehuana dress which is symbolic of Kahlo’s traditional culture. However, the dress hangs in a suspended position from a golden trophy to an open toilet. The dress is a significant contrast to the industrial and economic backdrop of Western urbanism. It is noteworthy that Kahlo does not appear in the painting hence the allusion of her alienation and displacement (Torton, 2006). Clearly, this informs on the subject matter of the patriarchal society that promoted matriarchal oppression. The traditional dress in which the Tehuantepec women were expected to be dressed in was merely an issue of compliance with the traditional culture which women had to abide by given its patriarchal nature. Thus, a woman who did not dress in it was purportedly defying the tradition of the Mexican culture and deemed a threat to the continuity of the social setting which the patriarchal order sought to maintain. Therefore, women are depicted as subjects to men and have no influence over what to wear but must dress as expected to match the cultural obligation. The women in this patriarchal society take play a subordinate role hence the emphasis by Kahlo which centres on the vulnerability of women who have no control over their bodies and only oblige by what the society expects of them. Thus, the discourse of matriarchal oppression and Cultural Revolution are at conflict in this painting. Originally, the dominance of female body as subject of Kahlo’s work was to voice matriarchal concerns and the prejudice that women suffered due to the notion or perception of men as superior to women. Another discourse that features in this piece of art is socio-political revolution that began in the 1920s and the 1930s in which idealized and exotic Mexican culture underwent a revolution which was characterized by empowerment of women and independence to do make life choices freely which was absolutely unheard of during the era of Kahlo’s works of art. However, the predominant discourse in this art remains to be matriarchal oppression and echoed in her self-portrait, Memory. The portrait the dress is portrayed in the piece of art hanging in a mysterious way from a red ribbon which hangs from the sky. Nevertheless, it worth noting that once again Kahlo is not dressed in the dress hence a clear expression of her dissatisfaction with the status quo which leaves her and the Mexican women with no freedom to choose (Andersen, 2012). In an analytical aspect, the Memory art is an utmost reference to the relevance of Frida Kahlo’s use of the female body oeuvre in which her gender and cultural identity are of chief concern. In reality, the discourses of American industrialization and matriarchal oppression as well as patriarchal dominance are at play in this piece of art. The painting comprises of various garments, a schoolgirl uniform a Tehuana dress. The garments are in unique depictions wherein the dress hangs in a puzzling manner on a red ribbon that drops from the sky whilst the schoolgirl uniform hangs on a vein-like string. In this painting, Kahlo occupies the area at the centre dressed in European-style clothes with her hair cropped. A rod goes through the hole which signifies her missing heart that lies bleeding nearby beside her. Simply this illustrates a Valentine heart shot through by an arrow. It expresses Kahlo’s pain and suffering in her marital life in which her husband was unfaithful to her by having an affair with Kahlo’s sister. The female body once again plays a pivotal role in supporting and substantiating this discourse, matriarchal oppression and the traditional Mexican culture that tolerated suppression of women as subordinate, submissive and passive subjects. In actual fact, this thematic concern stretches beyond Kahlo’s personal life to her cultural background in pre-revolution Mexico which is faced with a tumultuous conflict of women fighting for their rightful position in society (Johnston, 2006). Kahlo portrays herself as divided in threefold in this painting, which leaves her with no definite identity. She is neither Frida the schoolgirl, Kahlo the Tehuana nor Kahlo the modernized Mexican woman. The figure of Kahlo at the center of the painting is devoid of arms; however, each of the dresses in the painting contains a single one. This is an awkward representation of the personal experience Kahlo went through as an individual in which her gender and cultural identity were disunited. Her life experiences from childhood were horrible and dented her life with physical damage as well as psychological harm which affected her identity severely. In reality, her health after an early childhood accident reduced her life to a confinement on her bed where her father tendered her and became a close friend to her and helped her with her passion and work of art. The relationship she had with her father was questionable and described as “tender” since her mother was never by her side to support her or fulfill her duties either as mother and or a wife. In addition, Kahlo’s early marriage to her husband Rivera was not a self-choice, but a fulfillment of the expectation on her as a Mexican woman to marry and raise a family. However, the experience of her marriage was arguably the most distorting to her life since her relationship with Rivera was ever tumultuous and resulted in fights and abusive both physical and emotional. Furthermore, the patriarchal dominance made her life as wife a sure living hell with the emotional dissatisfaction and betrayal by her husband. In addition, her emigration to New York exposed to a new culture and an economic system that drastically shaped her life in drastic ways. Precisely, the creased garments that is, the skirt and the blouse Kahlo is dressed alludes her division. She rest one foot upon the land and floats the other in the ocean depict a boat-like figure. The landscape serves as a symbol of the Spaniard’s arrival on the American coast. The heart lying on the ground stained the soil with blood symbolizes the consequent violence and the destructive legacy of the conquest made the colonial power. The flexible rod which can potentially easily waver is symbolic of past and present political instability. This is a straightforward indication of the widespread Mexican crisis of national identity which has been infiltrated by external powers such industrialization and modernization (Andersen, 2009). At the centre where Kahlo stands, there is a hand reaching for the schoolgirl’s uniform. This is suggesting a strong emphasis on her innocence from her childhood. She stands rigidly with her hands intertwined dressed in the Tehuana dress. This a gesture to signify the unanimity of the indigenous and the mestiza connected by the same lineage. However, the figure of Kahlo at the center disapproves of the disunity which dictates their relationship. The art is quite complex and suggest a dual representation of Kahlo’s heritage both form her native background and her new life in New York which an extensively industrialized world (Alfaro, 2013). The Two Fridas is another of Frida Kahlo’s art work that widely applies to the multi-facet analysis to demonstrate the conflict of various discourses in the use of the female body as an object of art. The painting excessively suggests duality, which is further deconstructed through the different characteristic and elements of art embedded on each of them. The Two Fridas are contrasted vividly. For instance, whilst one Frida is dressed in a Victorian garment the other one is dressed in a Tehuana costume; although the Frida dressed in a Victorian browse also wears a Tehuana skirt. This Frida’s exposure of her breast violates the traditional conception of Victorian modesties and suitability. In addition, the Zapotec Frida holds a photograph of the nineteenth century which is a product of the European technology and a representation of the European customs. From a critical analysis of the two figures that is the two Fridas it is exceptionally evident that the two depict the variations identities. Although some of the imagery in the painting suggest a certain degree of connection as well as precariousness, it also notable that violence and disruption are themes of concerns too. Despite the reality of the two Frida coming from the same bloodline, it is rather an artificial issue since it occurs due to the circumstances of interference of the modern world and the native traditional Mexico. In the painting the two Fridas attempt to treat the exposed vein with a narrow photograph form one end and a surgical holder form the other end. Despite their great efforts there still is a blood spill on the bright Tehuana skirt that deteriorates its floral pattern. In this instance, theme of violence is dominant and informs on the violence that Kahlo suffered which is still present in the present life during the painting of this art. The post-revolution era and the revolution era are characterized by a social fabric that upholds violence especially towards women. The Two Fridas in the painting to do bring about the stability of the pair. However, it does play a critical role of exemplifying the process of trans-cultural integration. This led to the birth of a third identity that is mestizo. However, Kahlo is very deliberate in this art work and totally avoids an exceeding harmony and interaction between various cultural components hence the theme of modernization brought about by industrialization (Oresta, 2013). Despite holding hands, there is no depiction of harmony between the two Fridas. Kahlo is deliberate in this aspect she portrays the holding hands absolutely dispassionate. In addition, the tempestuous sky as well as the extensive tilt of the bench accrues the tension in the scene in this art work. The portrait does not magnify tranquility and harmony but instead emphasizes restlessness and awkwardness. Through this technique Kahlo brings out the unrealistic fantasy of [post-revolutionary Mexico which envisioned a perfect mestizo; with a balanced genetic and cultural combination of the Meso-Americas and the Spanish conquerors. Therefore, the aspect of compatibility exposes what Kahlo depicts as an unconscious symbolic chain that opposes the structure of the novel formed ideal identity of mestizo (Taylor, 2006). The intact body of Kahlo in the painting does not fully support the suggestion of harmony but rather uneasiness since it appears quite awkward. Thus matriarchal oppression comes into play and patriarchal dominance is evident through Kahlo marriage to Rivera. The body remains unified but her life is definitely in conflict since her marriage to Rivera and the cross-cultural integration of the native America with the European ideals do not in any way manage a harmonious combination. Her life underwent major changes due to cultural and economic changes. For instance, the adoption of the Christian Roman Catholic faith made her acquire another name that is Carmen and her identification became her new Christian name and her husband name. In reality, her official name became Carmen Rivera and not Frida Kahlo. In this case the influence of western culture is demonstrate through it role of influencing an individual’s personal identity. In actual fact, western patriarchal cultural is extremely dominant and take her identity away to some degree since she no longer identifies herself by her native names. Her cultural heritage is undermined and she has to use her Christian name as her first name and the husband’s name as the second name. The concept of nationality is subjected to external forces that destroy. The nation is generally referred to as a nation and the society is still identified as a community despite warring conflicts and lack of harmony. Once again matriarchal oppression is dominant and women lack the capacity to defy or resist the standard s set by the society (Bauer, 2007). Although Kahlo’s art work is referenced form her personal life, it is a reflection of the circumstance of other women in her society, traditional Mexico as well as resultant mestizos. The society as a whole is disharmony due to the influence of western culture which exacerbates the patriarchal domination and promotes matriarchal oppression. Nevertheless, the entire of the challenges facing the women entangled in these conflicts are portrayed as the accelerating force behind the Mexican revolution that gradually realized a decent degree of liberty (Daniels, 1991). Reference List Haghenbeck F., G., 2012. The Secret Book of Frida Kahlo: A Novel. New York: Atria Books,. Bauer, C., 2007. Frida Kahlo. California: Prestel. Berne, E. C., 2009. Frida Kahlo: Mexican Artist. New York: ABDO Publisher. Johnston, L.,J., & Kahlo, F., 2006. Frida Kahlo: Painter of Strength. New York: Capstone Publisher. Oresta L., 2013. Women teachers of post-revolutionary Mexico: feminisation and everyday resistance, Paedagogica Historica: International Journal of the History of Education, 49:1, 56-69, DOI: 10.1080/00309230.2012.746714 Andersen, C., Remembrance of an Open Wound: Frida Kahlo and Post-revolutionary Mexican Identity.South Atlantic review Vol 74, No. 4, Reflections on Empire: Depictions of Latin American Colonization in Literature, film and Art, (2009), PP. 119-130. Accessed 22nd 9 2013. Torton, B,. E., Kahlo's World Split Open. Feminist Studies. Spring2006, Vol. 32 Issue 1, p54-81. 28p Taylor, A., Malinche and Partriachal Utopia: Gendered Visions of Indigeneity in Mexico. Signs, Vol. 31, No. 3, New Feminist Theories of Visual Culture (Spring 2006) pp. 815-840. University of Chicago Press. Accessed 22nd 9 2013. Daniels, M., C.,Teaching Mexcian Culture In Mexico From A Women’s Studies Perspective. Women’s Studies Int. Forum,USA. Vol, 14 No. pp. 311-320, 1991. Alfaro, S., R., A Threat to the Nation: Mexico marimacho and Female Masculinities in Post revolutionary Mexico. Hispanic Review. 2013. Read More