Framing Frida

New show pays homage to the revolutionary Mexican painter

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The name Frida Kahlo conjures different meanings for different people. For some she was an underappreciated artist, who lacked technical skill but had a strong vision. For others she was a feminist who broke gender roles and challenged traditional beauty. Moreover she was a lover, a communist and a Mexican icon. In the CHAC Gallery’s new show, Viva la Vida!, artists explore all of Kahlo’s many sides and express their own visions of the prolific artist.

Curated by husband and wife artist duo David and Velia Martinez, ¡Viva la Vida! has works inspired by Kahlo, but not reproductions of her work. The interpretations vary throughout the show, consisting of pieces from around the country and artists ranging in age, nationality, occupation, style and subject matter.

The idea for the exhibit stemmed from public demand, Velia Martinez says. The couple moved to Denver a few years ago and say they were consistently asked about Kahlo.

“We realized that Denver is seeking out that culture and is very receptive to it,” she says. “We had a lot of people asking us about her work and of Mexican/Chicano art in general. People have been asking for a Frida show. We’re actually responding to that desire and curiosity.”

People have become curious about the painter in the last few decades, but that wasn’t always the case. Kahlo lived from 1907 to 1954, most of that time in the shadow of her acclaimed painter husband Diego Rivera. With no formal training, her work was often looked down on. But her passion came through on the canvas and through her life. Kahlo lived a provocative life — even more so given the time period. She was bisexual, politically vocal and had a turbulent relationship with Rivera. And after a tragic bus accident, she lost the ability to have children and lived life in constant pain.

“What comes across in her [self portraits] is not just her physical appearance every time, but her psychological and mental state,” David Martinez says. “And she had a hard life. She suffered a lot.”

Since her death, Kahlo’s work has been rediscovered and revered. She has become a symbol for Chicano artists. Especially considering Kahlo’s mother was Mexican and her father was born in Germany — with Frida actually meaning “peace” in German — Velia Martinez says Kahlo represents the Chicano feeling of being caught between two worlds.

“Chicanos are always trying to find our place,” she says. “We go to Mexico and people say, ‘You’re not Mexican enough. You’re a gringo.’ You come here and people say, ‘You’re not American. You’re Mexican.’ And Frida was like that. She personified that quandary.

“We’re always searching for that place, but like Frida you’re not going to change your values or become someone else. She never did that either,” she says. “I love those pictures of her with her big cigar, drinking tequila. I’m sure the Mexican women were shocked.”

As a woman, Velia Martinez says she’s attracted to Kahlo’s strength. Kahlo put her vulnerability on the canvas and wasn’t afraid to look ugly, broken or weak — and that didn’t undermine her vitality.

“To me she was very genuine,” she says. “People try to box [women] in. If you’re the really strong go-getter, working woman, you can’t be soft. But yes we can. Women are very complex. Everyone is. ”

“Women in general get the short stick when it comes to art,” David Martinez adds. “Now, there are more women in art school than men, but the majority of people showing in galleries are men, so that sexism still exists. Frida did her thing shortly after the Mexican revolution. So the fact that she did what she did was amazing. She had all these barriers against her and she pushed forward.”

Even though the Martinez’ are both big fans, it wasn’t always so. David Martinez says he was never drawn to Kahlo’s technique. But several years ago, after being prompted by some friends to contribute to a Kahlo exhibit, David Martinez began his research. He studied Kahlo, and poured her life into his piece “Santa Frida,” which encompasses the many facets of her life and is now on display at CHAC.

“I’m inspired by her drive, her passion, her creativity and her take-no-prisoners attitude,” he says. “She was never apologetic for who she was. … She had something to say and something to express. And as an artist you have to respect that because you put your work up, and you bare your soul, and you’re very vulnerable. And not everyone’s going to like it. You’re going to feel rejected and all these emotions. But she was a great example of just doing it and letting the chips fall where they will. As an artist that’s exactly what you want.”