[Virtual] "Frida Kahlo: Appearances Can Be Deceiving" Curator Talk
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Nickolas Muray, Frida with Olmeca Figurine, Coyoacán, 1939. Color carbon print, 10 3/4 x 15 3/4 in. (27.3 x 40 cm). Fine Arts Museums of San Francisco, Gift of George and Marie Hecksher in honor of the tenth anniversary of the new de Young museum. 2018.68.1. Image courtesy the de Young Museum; © Nickolas Muray Photo Archives
Join us for a virtual presentation by Hillary Olcott, coordinating curator of Frida Kahlo: Appearances Can Be Deceiving. Celebrate the life and artistry of the iconic artist, Frida Kahlo, and learn more as we get a special behind-the-scenes look at the highly-anticipated exhibition. This free virtual event will be broadcast through the de Young's Facebook and Youtube channels.
Every Wednesday at 5 pm, the Fine Arts Museums of San Francisco will bring you unique viewpoints exploring diversity, resilience, and creative spirit in the arts as we aim to re-frame our exhibitions and collections.
About the Speaker
Hillary Olcott is Associate Curator of the Arts of Africa, Oceania, and the Americas at the Fine Arts Museums of San Francisco and is the de Young's coordinating curator for Frida Kahlo: Appearances Can Be Deceiving. She was the co-curator of the ongoing exhibitions at the de Young museum, Of Courts and Cosmos: Art of the Ancient Maya, and Native Artists of Western North America: In Dialogue with the Natural World, and she served as Fine Arts Museum’s institutional curator for the major special exhibition, Teotihuacan: City of Water, City of Fire (2017–2018).
About the Exhibition
Frida Kahlo: Appearances Can Be Deceiving examines how politics, gender, trauma, and national identity influenced Kahlo’s diverse modes of creativity. The exhibition features highly personal items, which came to light in 2004 at her lifelong home, La Casa Azul (now Museo Frida Kahlo) in Mexico City—including approximately 30 photographs, 20 vibrant Tehuana costumes from her wardrobe, and personalized braces and prosthetics—alongside paintings and drawings by the iconic artist and photographs reflecting her unique self-fashioning.
Frida Kahlo: Appearances Can Be Deceiving is now on view at the de Young museum. All tickets will be timed and are selling out fast. We recommend booking your tickets in advance online. Members and their guests are invited to enjoy our newest member perk Member Wednesdays every week during regular museum hours throughout the run of Frida Kahlo: Appearances Can Be Deceiving.
We have reopened with safety guidelines to ensure that you return to a safe and healthy environment. Read our safety plan. We’re taking precautions in alignment with local and national safety standards for coronavirus, including requiring face masks for staff and adult visitors, increasing sanitation, providing contactless payment and procedures, and limiting building capacity for a pleasant gallery experience.
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This exhibition originated in the extensive investigation of Frida Kahlo’s personal belongings found in trunks, wardrobes, drawers, bathrooms, and cellars of La Casa Azul that had remained closed for over fifty years before being exhibited for the first time at the Museo Frida Kahlo (2012–2014) and later presented at the V&A London. Presenting Sponsors: John A. and Cynthia Fry Gunn and Diane B. Wilsey. Major Support provided by The HarrisFamily; The Bernard Osher Foundation and The Michael Taylor Trust. Significant Support provided by the Ray and Dagmar Dolby Family Fund. Generous Support provided by Janet Barnes and Thomas W. Weisel Family; George and Marie Hecksher. Additional Support is provided by Susie and Fred Harburg in memory of Zvi Ankori; Alec and Gail Merriam; and Paul A. Violich. The Museo Frida Kahlo thanks the Banco de México Trust; its Technical Committee and its president Carlos García Ponce; general director Carlos Phillips Olmedo; ADABI and its president Isabel Grañen Porrúa; Mr. Alfredo Harp Helú; and Hilda Trujillo, Perla Labarthe, Laura Zavala, Xochiquétzal González, Claudia Romo, Luanda López, Circe Henestrosa, and the researchers who participated. With special thanks to the Instituto Nacional de Bellas Artes y Literatura and the Instituto Nacional de Antropología e Historia.