The exhibition at the Victoria and Albert Museum in London presented an extraordinary collection of personal artefacts and clothing belonging to the iconic Mexican artist Frida Kahlo. Locked away for 50 years after her death, this was the first exhibition of this collection outside Mexico. Clothes were more than just clothes to Frida Kahlo (1907-1954), the Mexican tyro of Surrealist self-portraiture. This should be underscored by “Frida Kahlo: Appearances Can Be Deceiving,” an exhibition — based on one by the Victoria and Albert Museum in London — which opens Feb. 8, 2019 at the Brooklyn Museum.
As an artist, Joaquin Clausell (June 16, 1866 - November 28, 1935) had two periods of production, the first between roughly 1903 and 1910 and the second from 1920 until his death in 1935. He abandoned painting during the Mexican Revolution, mostly likely to concentrate on his law practice. However, his production was most intense in the latter period, becoming something of a vice, with all of his spare money going to supplies and even painting on wood and cardboard when he did not have canvas. In addition, he occasionally disappeared to Mexico’s coasts, especially the area between Mazatlán and Acapulco to return with sketches as the basis of new paintings.
George Edward Hurrell (June 1, 1904 – May 17, 1992) was a photographer who contributed to the image of glamour presented by Hollywood during the 1930s and 1940s.Hurrell originally studied as a painter with no particular interest in photography. He first began to use photography only as a medium for recording his paintings. After moving to Laguna Beach, California from Chicago, Illinois in 1925 he met many other painters who had connections. One of those connections was Edward Steichen who encouraged him to pursue photography after seeing some of his works. Hurrell also found that photography was a more reliable source of income than painting. Hurrell was an apprentice to Eugene Hutchinson. His photography was encouraged by his friend aviator Pancho Barnes, who often posed for him. He eventually opened a photographic studio in Los Angeles.
Life-size sculptures submerged underwater—accessible primarily to divers and snorkelers—are part tourist attraction, part ecological experiment in Jason deCaires Taylor's innovative art installations. "Instead of seeing the world as a hidden, endless resource that we can treat how we want, I tried to change our relationship to it and turn it into a more intimate space," says deCaires Taylor, a British environmentalist and sculptor.