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Abstract

Project Mentor(s): Erika Pazian

Frida Kahlo has been a common name in the art historical canon – one that reinvented Surrealism, despite not identifying with the style, and challenged conventional norms in artistic practices. Many of her works are discussed in Mexican art historical settings, however, the research of this paper will point the bulk of its focus directly onto The Two Fridas, offering additional discussion on how it connects to feminist theory. Kahlo was a deeply complicated woman, reduced to her bus incident, or tumultuous relationship with muralist Diego Rivera. The materials used as sources in this paper will give a bigger insight into various outside perspectives and an intimate vision of Kahlo’s mentality and personal identity, which proved to be conflicting. The research will thoroughly examine Kahlo’s womanhood and personhood as an artist in 20th-century Mexico. Each segment will deconstruct The Two Fridas and Frida Kahlo herself. Ultimately, the question answered will be: what was Kahlo attempting to communicate, and why has it been simplified via popular media? Why has Kahlo, herself, been a victim of simplification? Feminist theory suggests how she performed gender norms intersected with her race and sexuality, ultimately becoming defined by these characteristics, in a simplified manner. Who Kahlo was and how her most celebrated piece communicates her ideals, values, and sense of self is what this academic paper will dissect; to not only better understand the artist and her work, but also the application of feminist theory to The Two Fridas.

SOURCE Form ID

102

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