Frida Kahlo, the celebrated Mexican artist, has become an undeniable global phenomenon, her likeness gracing everything from socks and mugs to phone cases. This widespread commercialisation, however, has led some to question whether the true, complex individual behind the iconic monobrow and floral headdress has been obscured by a simplified, marketable image.
A new exhibition at the Tate Modern, titled 'Frida: The Making of an Icon', aims to delve into this very dichotomy. Opening earlier this month, the show not only presents Kahlo's original works but also explores the extensive cultural impact she has had, featuring pieces by artists she has inspired and examining the phenomenon of 'Fridamania'.
Co-curator Beatriz García-Velasco acknowledges the widespread appeal of Kahlo, stating that her universal accessibility and inspiring nature are not something to apologise for. She highlights how Kahlo has resonated with diverse groups globally, including Chicana/o art, feminist movements, disability arts, and queer culture, all of whom have claimed her as their own.
The exhibition moves beyond a straightforward survey of Kahlo's art, placing her work alongside that of her contemporaries and subsequent generations of artists. This includes graphic artist Rio Yañez, whose 'Ghetto Frida' character satirises the commercialisation of Kahlo while also critiquing the wider art world. Yañez notes how Kahlo's classic prints adorned the homes of many Chicanos, artists, leftists, and radical queers, signifying a deep-rooted cultural connection.
The show also examines collective expressions of admiration, such as mass gatherings of Kahlo lookalikes and Camila Fontenele de Miranda’s public portrait project, 'Todos Podem Ser Frida' (Everyone Can Be Frida). García-Velasco suggests that while the commercialisation of Kahlo's image is tied to capitalism, it can also be seen as a form of 'democratic ownership', allowing people to metaphorically and literally make Frida their own.
Despite the positive aspects, García-Velasco admits the phenomenon is not 'without its contradictions', citing the controversial 2018 Frida Barbie doll. This product was criticised for presenting Kahlo, who had Indigenous roots and often used a wheelchair, as a pale-skinned, non-disabled woman with plucked eyebrows. She identifies a 'productive tension' between such mass-market products and the handmade devotional objects that honour Kahlo as 'Santa Frida', rooted in communities where she remains a powerful symbol of resistance and identity.
Source: Tate Modern