FAH280/FAH198-04
Fall 2015
Seminar: Frida Kahlo
Professor Adriana Zavala
Dept. of Art and Art History, 11 Talbot Ave, Rm. 204
telephone: 617-627-2423
Office Hours: Weds. 2:30-4:30; use sign-up sheet on my
door please
Class Meeting Time: Mondays, 1:30-4pm
“You will always be on the living earth
You will always be a rebellion full of dawns
The heroic flower of successive dawns.”
Carlos Pellicer “For Frida” (1953)
This seminar examines the art of the Mexican painter Frida Kahlo, as well as Kahlo herself as a
work of art. We will also explore “Fridamania,” or the global popular celebrity she has garnered
since her rediscovery in the 1970s. We will delve into the vast literature on Kahlo, exploring and
assessing various approaches to the artist and her work. We will ask what methods and
approaches are fruitful for understanding one of the 20th-century’s most celebrated artists and
we will strive to understand her work more deeply in the context of the post-revolutionary
Mexican “renaissance.” We will explore how Kahlo drew on the rediscovery of popular art and
provincial painting, how she dealt with the politics of Mexican nationalism (including the
reinvention of a usable past, as well as race, gender and class discourses), and how she
meditated in her art work upon aspects of her personal life, including her intersecting identities
and her marriage to one of Mexico’s most important artists, Diego Rivera.
Seminar Objectives:
In addition to acquiring knowledge about Kahlo, her painting, her place within the history of art
and her popular celebrity, this seminar will emphasize an understanding of Kahlo in her
historical context. The seminar will also help you hone your ability to conduct art historical
research, and analyze, interpret, and write about art, as well as think critically in response to
scholarly literature and pertinent methodologies. Finally, you will be encouraged to develop the
skills necessary to present oral information effectively and professionally.
Texts available for purchase at the Tufts bookstore (on reserve as noted):
Deffebach, Maria Izquierdo and Frida Kahlo: Challenging Visions in Mexican Modern Art. U of
Texas Press, 2015. Required (on reserve at Tisch)
Herrera, Frida Kahlo: The Paintings. Harper Collins, 1991. Required (on reserve at Tisch)
Herrera, Frida: A Biography. Harper & Row, 2002 [1983]. Recommended (on reserve at Tisch)
Lindauer, Devouring Frida. The Art History and Popular Celebrity of Frida Kahlo. Wesleyan
University Press, 1999. Recommended (on reserve at Tisch)
Oles, Art and Architecture in Mexico. Thames&Hudson, 2013. Recommended (on reserve at
Tisch)
Note: These may be available on amazon for less $$.
Texts on Reserve and Trunk:
In addition to the books listed above, required readings as assigned below will also be drawn
from titles on Tisch Reserve (noted below as TR in the course schedule and listed at the end of
the syllabus). Personal Copies (noted below as PC) - some of my personal books and library
books charged out to me will be made available for use at 11 Talbot Ave – these are not to be
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removed from the building. Please note the department office is open 9-5 M-F; it is closed on
the weekends, so plan accordingly. Personal Copies will be on the file cabinet across from the
department secretary’s (Rosalie Bruno) desk.
Essays in PDF are on our Trunk site: FAH198-04 (Note: FAH198-04 on Trunk is the parent site
for all sections of this course) alphabetically by author’s last name. Note: whenever I indicate
peruse in the reading assignment, it means “read here and there,” with the goal of gaining a
sense of issues engaged, theoretical frameworks, arguments, and how evidence (biography,
artworks) is used.
Requirements
1. Attendance and Participation (20% of course grade) As a seminar, this class will
emphasize student-led discussions, presentations, research and writing. Everyone must come
to class having thoroughly prepared the week’s readings and ready to discuss and participate.
Note: The success of this class hinges upon each student’s full participation in its various
components each week. Careful preparation for each class will insure a consistent and
successful experience for everyone. Absences will impact your grade. Late assignments are
graded down 1/3 of a letter grade per day late unless prior arrangements have been made with
me.
2. Discussion leadership (20% of course grade) Beginning the week of 9/28, class
discussion will be student-led. Discussion leaders will guide us through the readings, offer an
evaluation of approaches, prepare questions to stimulate discussion and select key images for
visual analysis (to be assembled into a PowerpPoint presentation). Discussion leadership will be
evaluated on the thoroughness of preparation, ability to explore a given week’s themes and
effective leadership
3. One Short Writing assignment (20%) – details below
4. Research paper (with various components; 40% of course grade)
• Two-page proposal plus annotated bibliography due October 19 in class.
NOTE: You are required to meet with me discuss your research topic in advance of submitting
your proposal on 10/19. It is highly recommended that you meet with Tisch Research Librarian
Ms. Chao Chen to develop your bibliography either before or after you meet with me. You can
reach her for an appointment at: Chao.Chen@tufts.edu or 617-627-2057
•
10-minute Research Presentation. The last class sessions will consist of oral research
presentations of approx. 10-minutes in length followed by 5 minutes of Q&A. For the
presentation, you will write a 5-page (double-spaced) précis (summary) of your research
paper in progress, that you will hand in after your presentation. Your must include complete
footnote citations in your précis and attach a bibliography. This presentation should
introduce the class to your research topic, the questions you are exploring and the argument
you seek to make in your final paper. In other words, it must serve as a testing ground for
the research paper.
•
Research Paper (approx. 20 pp. plus notes, bibliography and illustrations). The
research paper will demonstrate a thoughtful expansion of the précis. The final paper is due
Monday 12/14, 4pm; submitted through Trunk Assigments as .doc/.docx or PDF.
Remember to include the images and bibliography and submit a single document. Format to
follow Style Sheet below. You will submit your paper through Trunk Assignments. Please
use file extension (I prefer .doc or .docx but PDF is acceptable).
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Style Sheet for all Writing Assignments
• For all papers, you will use footnote citations for all sources cited or consulted and a full
bibliography formatted according to the Chicago Manual of Style (CMS). Format may be
found online or at the Tisch reference desk. Note that any facts that are not common
knowledge and any ideas gleaned from a source, even if you elaborate on them in an
original way, MUST be cited with footnotes. This is necessary so that you give credit to other
authors and so that you can demonstrate how your research is in dialogue with scholars
who have come before you.
• Final research paper must include illustrations of works discussed (b/w photocopies are
fine). These should be labeled (fig. 1, fig. 2, etc.) in the text, with images labeled as follows:
fig. 1 author, title, date, etc., and embedded at the end of the paper.
• Your research paper must also include a review of the literature employed to explore your
research topic.
• Papers will be properly formatted: 12 pt font; 1-inch margins; spell-checked.
• I will evaluate written assignments for intellectual content and clarity of presentation. I will
not edit for grammar. It is your responsibility to seek help in advance, if necessary, at the
Academic Resource Center (ARC), especially if I have recommended a consultation in my
comments on short writing assignments or your research paper précis. The ARC is an
indispensable resource. Use it! Disregarding my advice to seek assistance at the ARC may
result in a lower grade on your final paper.
Note on Academic Integrity
Tufts holds its students strictly accountable for adherence to academic integrity. The
consequences for violations can be severe. It is critical that you understand the requirements of
ethical behavior and academic work as described in Tufts’ Academic Integrity handbook. If you
ever have a question about the expectations concerning a particular assignment or project in
this course, be sure to ask me for clarification. The Faculty of the School of Arts and Sciences
and the School of Engineering are required to report suspected cases of academic integrity
violations to the Dean of Student Affairs Office. If I suspect that you have cheated or plagiarized
in this class, I must report the situation to the dean.
Required events: Mandatory organized bus trip to view “Frida Kahlo: Art, Garden, Life,” which I
curated for the New York Botanical Garden; date: Saturday, October 24, 2015. Bus and
admission are free for Tufts students. Details to follow
Course Calendar
9.14 Approaching Frida Kahlo.
9.21 Kahlo in Context
9.28 Intellectual Currents of Kahlo’s Day
10.5 Feminist Approaches (Writing Assignment Due)
10.12 Recovering Frida
10.19 Frida on Film (research proposal due)
10.26 Diagnosing Frida, or corpus=author
11.2 Kahlo’s Self Fashioning
11.9 Student research consultations with me (15 each)
11.16 Fridamania, or. . . “the biggest piece of caca in the world.”
11.23, 11.30, and 12.7 Student Research Presentations
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Course Schedule
Note: “Key Works” – most weeks, I’ve assigned a group of key works that you should study
closely in relation to the readings and issues raised therein. These are mostly available for study
in Herrera, Frida Kahlo: The Paintings (1991); but if you don’t find them there, they should be
available in Dexter and Barson (2005), Prignitz-Poda (2007 or 2010), Carpenter (2007); or
online but be wary of adulterated images that sometimes appear online.
9/14
•
Approaching Frida Kahlo - overview and introduction
What do you know about Frida Kahlo and her work and how and where have you
encountered her?
9/21 Kahlo in Context: the Mexican “Renaissance”
Key works: “Pancho Villa and Adelita” (c.1927); “The Bus” (1929); “Two Women” (1929); “Self
Portrait on the Borderline” (1932)
Reading: Oles, Art and Architecture in Mexico, read chapters 6-9 for background not for
discussion.
Herrera, Frida Kahlo: The Paintings. New York: Harper Collins, 1991. Read entire.
TR Dexter and Barson, et. al. Frida Kahlo (Tate 2005), read Barson, “All Art is at Once Surface
and Symbol: A Frida Kahlo Glossary,” pp. 55-79 and peruse plates. ND259.K33 A4 2005b
TR and PDF Zamudio-Taylor, “Frida Kahlo: Mexican Modernist,” in Herrera and Carpenter, ed.
Frida Kahlo. Minneapolis: Walker Art Center, 2007, 14-34. For convenience I have uploaded
PDF but you should look at this exhibition catalog as well. ND1329.K33.A4.2007
PDF Oles. “At the Café de los Cachuchas: Frida Kahlo in the 1920s.” Hispanic Research
Journal 8, No. 5 (2007). 467-489.
9/28 Intellectual Currents of Kahlo’s Day
Key Works: “Luther Burbank” (1931); “My Grandparents, My Parents, and I” (1936); “SelfPortrait Dedicated to Leon Trotsky” (1937); “Four Inhabitants of Mexico” (1938); “What the
Water Gave Me” (1938); “The Survivor” (1938; note this work has not been widely published,
see Deffebach 2015, pp. 78-82, 180).
Reading: Lindauer. Devouring Frida, pp. 1-12, 114-149. ND259.K33 L56 1999 c.1
TR Frida Kahlo. Mexico: Editorial RM/Museo Estudio Diego Rivera, 2004. Read Juan Rafael
Coronel Rivera, “The Forest of Images,” 24-143. NOTE: a variant of this catalog is Arteaga,
Frida Kahlo and her Worlds, also on reserve. Coronel Rivera’s essay there is pp. 38-146. Read
either. ND259.K33 A4 2005 or ND259.K33 A4 2005a.
TR Dexter and Barson, Frida Kahlo (Tate 2005); read Dexter, “The Universal Dialectics of Frida
Kahlo,” 11-29 and Ankori, “Frida Kahlo: The Fabric of Her Art,” 31-53. ND259.K33 A4 2005b
TR Reyes Palma, “Frida kahlo: A gift-Wrapped Anti-Stalinist Bomb,” in Frida Kahlo:
Retrospective, ed. Prignitz-Poda (2010), pp. 58-65. N6559. K34. A4. 2010
PDF Siqueiros, David Alfaro, et al. “Manifesto of the Union of Technical Workers, Painters, and
Sculptors [1923]”.
PDF Bretón, Andre and Diego Rivera [and Leon Trotsky] “Manifesto: Towards a Free
Revolutionary Art [1938],” published originally in Partisan Review 6, no. 1 (fall 1938): 49-53.
PDF Bretón, Andre. “Frida Kahlo de Rivera.” Essay for Kahlo’s exhibition, Julien Levy Gallery,
New York, November 1938.
PDF Ankori. “The Hidden Frida: Covert Jewish Elements in the Art of Frida Kahlo.” Jewish Art
19/20 (1993-94). 224-227.
PDF Hoover Giese. “A Rare Crossing: Frida Kahlo and Luther Burbank.” American Art 15, No. 1
(2001). 53-73.
PDF Volk. “Frida Kahlo Remaps the Nation.” Social Identities 6, no. 20 (2000). 165-188.
PDF Alonso. “Conforming Disconformity: “Mestizaje,” Hybridity, and the Aesthetics of Mexican
Nationalism,” Cultural Anthropology 19:4 (2004): 459-490.
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10.5 Feminist Approaches (Writing Assignment due)
Key Works: “A Few Small Nips” (1935); “Self Portrait with Cropped Hair” (1940); “Flower of
Life” (1944); “Two Nudes in a Forest” (1939); “Love Embrace of the Universe” (1949)
Reading: PDF Nochlin. “Why Have there Been No Great Women Artists?” [1971] Reprinted in
Nochlin, Women, Art and Power and Other Essays. New York: Harper and Row, 1988, 145-178.
PDF Pollock. “Feminist Interventions in the History of Art: An Introduction” [1988] reprinted in
Vision and Difference. London: Routledge Classics, 2003, 1-24.
PDF Chedgoy, “Frida Kahlo’s Grotesque Bodies,” Feminist Subjects, Multimedia: Cultural
Methodologies (1995): 39-53.
Deffebach, María Izquierdo and Frida Kahlo, chapters as assigned/students. Details to
follow.
Short writing assignment due in class (follow style sheet above, pp. 2-3): Choose any of
the Key Works identified for this week and write a 2-page meditation focused on either the
aesthetic and/or metaphoric role of the gaze or of the touch (i.e. the haptic, relating to tactile,
sensory qualities not related to ocular vision), and in either case, of the body. Choose either the
gaze or the touch. In developing your ideas for the essay, you might engage with: PDF Fuss,
“Fashion and the Homospectorial Look,” Critical Inquiry 18:4 Identities (Summer 1992): 713737; or, PDF Marks,”Video Haptics and Erotics,” Screen 39:4 (Winter 1998): 331-348.
NOTE: Research paper proposals are due 10/19 and you MUST meet with me in person in
advance, to discuss your ideas. I will not accept a proposal unless we have discussed it.
10/12 Recovering Frida for the 70s, 80s, 90s, 2000s. . .
Key Works: Nahum Zenil “Con Todo Respeto” (1983); Yreina Cervantes “Homenaje a Frida
Kahlo” (1978); Rupert Garcia “Frida Kahlo” (1975; 1990); Kiki Smith, “Train,” (1993); Yasumasa
Morimura “Inner Dialogue with Frida Kahlo,” (2001 series); who else?
Read: TR Peruse Herrera, Frida: A Biography of Frida Kahlo (1983). Get a sense of the
structure, use of evidence, voice of authority and citation system employed; consider the
relationship of biographical text to illustrations provided in the book, whether photographs or
Kahlo’s paintings. ND259.K33 H47 1983.
PDF Herrera, Hayden. “Why Frida Kahlo Speaks to the ‘90’s,” New York Times, Oct. 28, 1990.
PDF Judd Tully, “Kahlo Cult,” Art News, April 1994, pp. 126-133.
PDF Sullivan, Edward. “Frida Kahlo in New York,” Pasión por Frida. Museo Estudio Diego
Rivera, 1991, 182-184.
PDF Favela, Ramón. “The Image of Frida Kahlo in Chicano Art,” Pasión por Frida. Museo
Estudio Diego Rivera, 1991, 185-189.
Online: Stephanie Mencimer “The Trouble with Frida Kahlo,” Washington Monthly, July 2002:
http://www.washingtonmonthly.com/features/2001/0206.mencimer.html
Online: Guy Trebay “Frida Kahlo is Having a Moment,” New York Times, May 8, 2015:
http://www.nytimes.com/2015/05/10/style/frida-kahlo-is-having-a-moment.html?_r=0
PC Peruse works illustrated in Pasión por Frida. Museo Estudio Diego Rivera, 1991. NOTE:
Please treat this book carefully, it is fragile. Do NOT photocopy.
TR Brugger, “A Small World that’s Become So big. . . .” Frida Kahlo: Retrospective, ed. PrignitzPoda. Prestel, 2010, 12-17 and peruse in general. N6559. K34. A4. 2010
TR Shifra M. Goldman and Tómas Ybarra Frausto, “The Political and Social Contexts of
Chicano Art,” CARA: Chicano Art Resistance and Affirmation. UCLA/Wight Gallery, 1991, 83-95
and peruse plates, esp. “Cultural Icons,” 238-248, and “Feminist Visions,” 322-331. N6538.M4
C45 1991 c.1
NOTE: Research paper proposals are due 10/19 and you MUST meet with me in person in
advance, to discuss your ideas. I will not accept a proposal unless we have discussed it.
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10/19 Frida on Film; Frida’s Letters (research proposals due)
View two films: Frida, dir. Julie Taymor, 2003; streaming link on Trunk (also on Tisch media
reserve PN1997.2 F7533 2003 disc 1; Netflix; Amazon Prime)
Frida: Naturaleza Viva, dir. Paul Leduc, 1984 (streaming link on Trunk; or reserve
PN1997.F7458 2008; unsubtitled, but you can nevertheless get a sense of how Kahlo is
represented, issues and concerns prioritized in this interpretation of her life.
Read: TR peruse, Kahlo, Frida. Frida by Frida. A Selection of Letters and Texts. Foreward and
notes by Raquel Tibol. Translated by Gregory Dechant. Mexico: Editorial RM, 2006. NOTE:
Choose on letter to discuss with the class; bring one photocopy with you ND259.K33 A33 2006
PDF Eli Bartra and John Mraz, “Las dos Fridas: History and Transcultural Identities,”
Rethinking History 9:4 (2005): 449-457.
PDF Ruiz-Alfaro, Sofía. “From Chavela to Frida: Loving from the Margins.” Journal of
Homosexuality 59, No. 8 (2012). 1131-1144.
Reminder: Two Page Paper proposal and annotated bibliography due today in class; you
must meet with me prior to submitting a proposal
Saturday 10/24 Bus trip to view Frida Kahlo: Art, Garden, Life at the New York Botanical
Garden, bus departs 6am sharp!
In advance please peruse thoroughly: Zavala, Adriana, et al.. Frida Kahlo’s Garden. New York:
Delmonico Books/Prestel, 2015. N6559.K34 A4 2015 Note: I will leave a personal copy of the
catalog in the department as well (on the file cabinet across from our dept. secretary’s desk).
10/26 Diagnosing Frida, or artist = art
Key works: “Henry Ford Hospital” (1932); “My Birth” (1933); “What the Water Gave Me” (1938);
“Broken Column” (1943); “Self Portrait as Tehuana (Diego on My Mind)” (1943)
Reading: TR Peruse, The Diary of Frida Kahlo. An Intimate Self Portrait. New York: H.N.
Abrams, 1995. ND259.K33 A2 1995 c.1
TR and PDF Grimberg, ed. Frida Kahlo: Song of Herself. London: Merrell, 2008. Read
Grimberg, 13-29 and Bridger Harris 121-150 (PDFS); peruse Campos interview with Kahlo, pp.
57-111 and Begun, “Frida Kahlo’s Medical History,” pp. 114-119. ND259.K33.G75.2008
TR Prignitz-Poda, “The Celestial Love Story and Encoded Ciphers in the Work of Frida Kahlo,”
Frida Kahlo: Retrospective, ed. Prignitz-Poda (2010), 18-27. N6559. K34. A4. 2010
PDF Lomas. “Body Languages: Kahlo and Medical Imagery” in The Body Imaged: The Human
Form and Visual Culture Since the Renaissance, ed. Kathleen Adler and Marcia Pointon.
(Cambridge: Cambridge University Press, 1993). 5-19.
PDF Knafo. “The Mirror, the Mask and the Masquerade in the Art and Life of Frida Kahlo.”
Annual of Psychoanalysis 21 (1993): 277-299.
PDF Budrys, “Frida Kahlo’s Neurological Deficits and Her Art,” Progress in Brain Research,
Volume 203 (2013): 241-254.
11/2 Kahlo’s Self Fashioning; Fashioning Frida
Key Works: “Frida and Diego” (1931); “My Dress Hangs There” (1933); “Two Fridas” (1939)
Reading: TR Self Portrait in a Velvet Dress. Chronicle Books, 2008. Read Denise and
Magdalena Rosenzweig, “The Trove in Frida’s Dressing Room,” 13-15; Peruse, Teresa del
Conde, “Frida Kahlo: Her Look”; and Marta Turok, “Frida’s Attire: Eclectic and Ethnic,” read 5159, and peruse overall. ND259.K33 R67 2008
PDF Oles, “Frida Kahlo’s Bathrobe,” (2014), author’s translation of essay in Frida Kahlo, curated
by Helga Prignitz-Poda (Milan, 2014)
PDF Block, Rebecca and Lynda Hoffman-Jeep. “Fashioning National Identity: Frida Kahlo in
“Gringolandia,” Woman’s Art Journal 19, no. 2 (1998-1999). 8-12. [readings continue below]
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PDF Chassen-Lopez, Francie. “The Traje de Tehuana as National Icon: Gender, Ethnicity and
Fashion in Mexico.” The Americas, Volume 71, Number 2, October 2014, pp. 281-314
View the film: Que Viva Mexico, 1979 edition of 1931 footage by Sergei Eisenstein – streaming
link on Trunk or reserve F1226 .Q4 2001 c.1. Watch “Prologue,” and “Sandunga” (from the
beginning through to time stamp 26:00 if not entire film) Note: voiceover/subtitles are not
original
11/9 Research and Consultation Day (15 minute appointments with me to discuss state of
your research) Note: depending on the number of students enrolled in the seminar, we
may need to shift Fridamania to this date and use 11.16 as a student presentation date.
11/16 Fridamania, or “I believe that after my death, I am going to be the biggest piece of
caca in the world.” (Kahlo to L. Bloch, quoted in Grimberg, Frida Kahlo: Retrospective, 2010,
28).
Reading: PDF Kahlo, Frida. “Portrait of Diego.” Written for the exhibition Diego Rivera: 50 años
de labor artística. Mexico City: Palacio de Bellas Artes, 1949. Translated by Nancy Breslow
[Deffebach] for Calyx: A Journal of Art and Literature by Women. Special International Issue
Vol. 5, nums 2&3 (Oct. 1980), pp. 93-107 [odd pages].
PDF Rivera, Diego. “Frida Kahlo and Mexican Art.” Boletín del Seminario de la Cultura
Mexicana, Vol. 1 No. 2 (Oct. 1943). Translated by David Craven in Diego Rivera as Epic
Modernist. New York: G.K. Hall, 1997, pp. 177-185.
PDF Baddeley, Oriana. “‘Her Dress Hangs Here’: De-frocking the Kahlo Cult.” Oxford Art
Journal 14, no. 1 (1991). 165-189.
TR Lindauer, Devouring Frida. The Art History and Popular Celebrity of Frida Kahlo. Wesleyan
University Press, 1999, read pp. 150-179. ND259.K33 L56 1999 c.1
PDF Malkin. “Frida Kahlo Trove in Mexico-Fact or Fakery,” New York Times, Sept. 28, 2009.
TR Levine, Barbara and Stephen Jaycox, Finding Frida. Princeton Architectural Press, 2009,
Peruse. ND259.K33.L48.2009
Online: Sheena McKenzie, “Queen of the Selfie: The enduring allure of Frida Kahlo,” CNN, July
28, 2015:
http://www.cnn.com/2014/07/28/world/americas/queen-of-the-selfie-the-enduring-allure/
11/23 Student Research Presentations.
See here, p. 2 for guidelines
11/30 Student Research Presentations.
See here, p. 2 for guidelines
12/7 Student Research Presentations
See here, p. 2 for guidelines
Final research papers due Monday 12/14, 4pm; submitted on Trunk Assignments:
doc/docx or PDF. Remember to include the images and bibliography and submit as a single
document. Format to follow Style Sheet, here pp. 3.
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Books on Tisch Reserve:
Ankori, Gannit. Frida Kahlo. Reaktion Books, 2013. This book was ordered as recommended at
the bookstore. I have asked Tisch to acquire it and place on reserve.
Anreus, Alejandro et. al. Mexican Muralism: A Critical History. Berkeley: University of California
Press, 2012. ND2644.M4925.2012
Arteaga, Agustin. Frida Kahlo y sus mundos (Frida Kahlo and Her Worlds). Ponce, PR: Museo
de Arte de Ponce, 2005. ND259.K33 A4 2005a
Carpenter, Elizabeth, ed. Frida Kahlo. Minneapolis: Walker Art Center, 2007.
ND1329.K33.A4.2007
Chicano Art. Resistance and Affirmation. Ed. by Richard Griswold. Los Angeles: UCLA Wight
Gallery, 2001. N6538.M4 C45 1991 c.1
Deffebach, Nancy. Maria Izquierdo and Frida Kahlo: Challenging Visions in Mexican Modern
Art. U of Texas Press, 2015. Required (in processing at Tisch, call # TBD)
Dexter, Emma and Tanya Barson, eds. Frida Kahlo. London: Tate Publishing/NY: Harry
Abrams, 2005. ND259.K33 A4 2005b
The Diary of Frida Kahlo. An Intimate Self Portrait. With an introduction by Carlos Fuentes;
Essay and Commentaries by Sarah Lowe. New York: H.N. Abrams, 1995. ND259.K33
A2 1995 c.1
Frida Kahlo. La Metamorfosis de la imagen. Mexico: Editorial RM/Museo Estudio Diego Rivera,
2005. ND259.K33 A4 2005
Gaspar de Alba, Alicia. Chicano Art Inside/Outside the Master’s House. Cultural Politics and the
CARA Exhibition. Austin: University of Texas Press, 1998. N6538.M4 G37 1998 c.1
Grimberg, Salomon. Frida Kahlo: A Song of Herself. New York: Merrell, 2008.
ND259.K33.G75.2008
-----. Frida Kahlo: The Still Lifes. New York: Merrell, 2008. ND259.K33.G755.2008
-----. I will never forget you. . . Frida Kahlo to Nickolas Muray. Unpublished photographs and
letters. Munich: Schirmer Mosel, 2004. ND259.K33 G75 2004
Herrera, Hayden. Frida: A Biography. New York: Harper & Row, 1983. ND259.K33 H47 1983.
-----. Frida Kahlo: The Paintings. New York: Harper Collins, 1991. ND1329.K33 H4 1991 c.1
Kahlo, Frida. Frida by Frida. A Selection of Letters and Texts. Foreward and notes by Raquel
Tibol. Translated by Gregory Dechant. Mexico: Editorial RM, 2006. ND259.K33 A33
2006
Levine, Barbara. Finding Frida Kahlo. Princeton Architectural Press, 2009.
ND259.K33.L48.2009
Lindauer, Margaret. Devouring Frida. The Art History and Popular Celebrity of Frida Kahlo.
University Press of New England, 1999. ND259.K33 L56 1999 c.1
Meyer, Michael and William Beezley, eds. The Oxford History of Mexico. Oxford University
Press, 2000. F1226.O94.2010.c1.
Oles, James. Art and Architecture of Mexico. Thames & Hudson, 2013. N6550 .O42 2013
Prignitz-Poda, Helga. Frida Kahlo: Life and Work. Schirmer Mosel, 2007.
ND259.K33.P7513.2007
-----. Frida Kahlo: Retrospective. Prestel, 2010. N6559. K34. A4. 2010
Self portrait in a Velvet Dress : Frida's Wardrobe. Ed. by Denise and Magdalena Rosenzweig.
San Fran: Chronicle Books, 2006. ND259.K33 R67 2008
Zavala, Adriana, et al.. Frida Kahlo’s Garden. New York: Delmonico Books/Prestel, 2015.
N6559.K34 A4 2015
-----. Becoming Modern, Becoming Tradition. Women, Gender and Representation in Mexican
Art. Penn State University Press, 2010. N7630 .Z38 2010
Films on Tisch Reserve and on Trunk for streaming
Frida Kahlo (dir. Julie Taymor) PN1997.2 F7533 2003 disc 1
Frida: Naturaleza viva (dir. Paul Leduc) PN1997.F7458 2008 (Unsubtitled)
!Que Viva México! (dir. Sergei Eisenstein) F1226 .Q4 2001 c.1 8