Monday, April 17, 2017


Hamilton’s self-declared dubpoet laureate, Klyde Broox, has invited local poets - of all shapes and sizes - to declare their love of place with an innovative poetry smash - ODE TO MY POSTAL CODE.

I've contributed - insisting that Klyde 'stand and deliver'.  Here's a sample of Klyde's work, and my own submitted piece, about my studio place on Hamilton's beach strip:  L8H 6Y5. 

c. L8H 6Y5 Poem by M.L.Holton, (2017)

Spoken Word Dub Fest 
Hamilton Public Library 
55 York Blvd, downtown Hamilton
Happening: Friday, APRIL 28th, 2-4pm 

By the way, if swinging by, give a listen too, to my sesquicentennial tribute, CANADADA: TAKE TWO
Double the trouble - spoken word AND music! ;)

Plus, check out other MLH published poetry via the great Canpoetry website, hosted by the University of Toronto. 

Poster by Klyde Broox - Poets in the Hammer  - (Guess who's got a finger in her eye? ... )

Wednesday, April 5, 2017

Artist in their Studios: HAL, Spring, 2017

Cover of HAL, Spring, 2017
Delighted to discover that many local Golden Horseshoe artists, myself included, have been included in the latest issue of HAL: Hamilton Arts & Letters on-line magazine, in one of the photographic features, Portfolio II: Artists in their Studios by gifted Hamilton-based photographer, Jeff Tessier.

I was shot by Jeff mid-summer of 2015, on a very hot & humid day, in my lakeside studio on the Hamilton Beach Strip, on Lake Ontario. Not the most flattering portrait, but hey, as an image of an artist ''at work and play" it does dove-tail perfectly into the issue theme:  

- PLAY: Life as a Work of Art ... 

This issue is chock-o-block with tantalizing riffs on the above topic: including incisive reviews, of prose & poetry - as well as new poetry, fascinating video content and new photography by established and emerging personalities. Wonderful to read - and navigate - on-line. Check it out!

Margaret Lindsay Holton in her studio, Hamilton, 2015 by Jeff Tessier.

Thursday, March 30, 2017

TIME WARP - Spring 2017 Exhibit by Margaret Lindsay Holton

Please join me, in the evening, 7-8pm, during Hamilton's April Art Crawl - Friday, April 14th.
Exhibit will be up starting from April 11th & runs until May 7th. 4pm.
A selection of pinhole photography, (with one large photo-collage thrown in ... ) 

M.L.Holton with one of her hand-made pinhole cameras. Photo Credit: M. Sui. 

Showing in the Defacto Gallery, at the famed  
- Mulberry Street Coffee House-
193 James Street North,  
Hamilton, Ontario, Canada
Swing in for a peek & brew!  

Samples of pinhole cameras made by M.L.Holton, Canada. - Photo Credit: M.L.Holton
Learn more about pinhole photography HERE

Wednesday, March 29, 2017

Fame & Infamy, Part 1. The Life & Art Career of M.L.Holton

.... Well, that's kind of nice. I have been nominated for the City of Burlington's 2016 'Arts Person of the Year' award.

(Burlington is situated on the western end of Lake Ontario, one of the Great Lakes, nestled in the Province of Ontario, in the amazing country of Canada.)

I don't stand a chance - there's such other great talent on deck. Still, it is very flattering to be considered.

Equally as flattering is to be listed as a 'Famous Person' from Burlington.

In the main, an artist's life, no matter where they are situated, is one of DOING. The rest - payment, recognition, accolades - is pure gravy. I have been at it for quite some time now, so again, it IS gratifying to finally be 'seen' by the larger non-arts community.

Next up for me is a pinhole photography show in the Defacto Gallery, at the Mulberry Street Coffee House in Hamilton. It's going up April 10th and will be there until May 7th. Entitled: TIME WARP , I'll be posting more on that shortly ...

Up UP and AWAY!
p.s. They are missing an art type in the above chart 
'naive-surreal-folk-abstractionism-by-canajun-M.L.Holton'  - wink, wink.
Colombine in the Back Field, by M.L.Holton

'Bush Chord', new choral work, by Canadian composer, Tobin Stokes, based on poem by Canadian artist, M.L.Holton

Excited to announce the official premiere of the new choral work based on one of my poems, 'Bush Chord', by Canadian composer, Tobin Stokes, commissioned by Vox Humana Chamber Choir, from British Columbia, Canada.

Happening June 2nd, 2017 (Ticket info below.)

What was the inspiration behind "the national anthems?" 

From the program notes, by Vox Humana Chamber Choir's musical director, David Lang: 

"Every country has a history – how it came to be, how its wars were won or lost, how strong its people are, or how proud, or how sad. We group ourselves into nations, but it has never really been clear to me what that means, or what we get out of it. Are we grouped together because we believe something together and are proud of associating with others who believe the same way? 

 Or are we grouped together because our ancestors found themselves pushed onto a piece of land by people who didn’t want them on theirs? It seems that all nations have some bright periods and some dark periods in their past. 

Building a national myth out of our bright memories probably creates a different character than if we build one out of the dark.
I had the idea that if I looked carefully at every national anthem I might be able to identify something that everyone in the world could agree on. If I could take just one hopeful sentence from the national anthem of every nation in the world I might be able to make a kind of meta-anthem of the things that we all share. I started combing through the anthems, pulling out from each the sentence that seemed to me the most committed. What I found, to my shock and surprise, was that within almost every anthem is a bloody, war-like, tragic core, in which we cover up our deep fears of losing our freedoms with waves of aggression and bravado.

At first I didn’t know what to do with this text. I didn’t want to make a piece that was aggressive, or angry, or ironic. Instead, I read and re-read the meta-anthem I had made until another thought became clear to me.

Hiding in every national anthem is the recognition that we are insecure about our freedoms, that freedom is fragile, and delicate, and easy to lose. Maybe an anthem is a memory informing a kind of prayer, a heartfelt plea: 'There was a time when we were forced to live in chains. Please don’t make us live in chains again.' " - David Lang.

Am super excited to see what Tobin Stokes will create with my poem - 


pine poplar willow and punk wood
spit and spark
while bone hard elm birch apple and oak
hum harmonious
fine hard woods - good wood to burn
these wonder instruments pressure whistle
chattering, cheering, cackling
crackling within a hesitant cyclone of light
flickering flames
of sublime delight, warming slow, they give us life

parse this minor miracle of mega bio-physics
of holy fire drawn down
from primal sun
through leaves to rugged root shoots far flung
look here now
to this instant, brilliant burn
an intense unrehearsed liquid fire
a sound symphony of sun struck lyres
complete and sacred
a rare but common gift

the honey musk smell of jumbled bush wood
burns deep into primal memory
     (remember those crisp sun-filled fall days
     of cutting, gathering, splitting, stacking,
     carrying, piling, drying, and cursing
     those back breaking loads?)

to get to this
this calm clear moment

to these bush chords
Have seen the preliminary score, but cant wait to HEAR it!
If in British Columbia in June, please do drop in for a unique choral experience! 

**Read more MLH poetry on excellent Canpoetry website**
(hosted by University of Toronto.)

p.s. NICE to be included in such august company!  
...  Margaret Atwood opera, another project by Stokes from three years ago  ... :) 

UPDATE. APRIL 4th, 2017: Just received the first draft of the score for this work ... WOW. 
Samples below ... 

Monday, March 27, 2017

Thunderbird by Canadian Painter, M.L.Holton

... Exploration & experimentation are main-stays of what I do as an artist  ...  Trying new things, especially when painting, means exploring new tools and the unknown to investigate a medley of thoughts and feelings. This particular effort is a bit crude, but, to my eye, it has huge potential. ... Starting with a ruby red undercoat, then applying a layer of metallic paint, then dabbing on coloured dots with the back-end of a paintbrush to outline a suggestive bird-in-flight, then letting strong LIGHT play all over the surface, well, wow, YES, I am liking it. Cumulatively, it creates for me a compelling & evocative untold story: one of quiet power, strength, ephemera, that whispers of Time, both ancient & modern. - All of it inspires me to reach higher, pursue farther, get further ... enjoy.

Thunderbird, composite,  by Canadian artist, M.L.Holton
If interested in purchase, kindly contact the artist direclty for size & price. Currently, it is unframed.

Wednesday, March 22, 2017

SPRING-A-LING! on Lake Ontario, by M.L.Holton

... the weather is erratic these days, to be sure, BUT there is solid warmth in that Sun now, even if the temperature is still hovering below freezing ... Courage Comrades! It's a comin'!!!
Lake Ontario Beach Strip by M.LHolton
UPDATE, April 2nd: Amazing what difference 10 days can make ... It's LOVELY out now. But there is still a whiff of winter weather in the air ... In the meantime, ENJOYing this SUN!

Snow Fence on the Beach by M.L.Holton
Natural Sculpture on the Lake Front by M.L.Holton

Lunar Beach, Photo by M.L.Holton
Lake Ontario, Photo by M.L.Holton
Snow Fence 2*, Photo Credit: M.L.Holton
*The temptation with this final shot was to 'blow it out' as much as possible to force a high-contrast with the stark shadows. I've done some of that here, but I think it could be cranked up a bit more ...and might, in the end, be better, in colour. See below ...

Snow Fence 2B. Photo Credit: MLHolton

Saturday, February 25, 2017

CANADADA: TAKE TWO - CD Album, Spoken Word & Garageband Antics by Canadian Artist, M.L.Holton

Canadian Artist, MLHolton - Spoken Word & Garageband Antics

35 Tracks of Potent MLH Poetry fused with her Electropop Jive!
Yup, 65 minutes of SERIOUS FUN!

 Limited Sesqui-Centennial Release - ONLY 75 Copies! 

(You can pick up a copy over there too. And even become a VIP member!)  

RELEASED NOON, March 15th, 2017.

UPDATE: April 2nd, 2017 - "A rich musical adventure" that 'tickles' the ear"! - 
Super Review of the musical aspects of the CD,
 via Glen Brown, Founder & Editor of Greater Hamilton Musician

The LAST FIVE YEARS: New Paintings by M.L.Holton - BOOK

Please to announce the release of a new book publication: 
The LAST FIVE YEARS: New Paintings, by Canadian Artist, M.L.Holton
Double page spread sample 1.
Double page spread sample 2.
 The LAST FIVE YEARS: New Paintings 
by Canadian Artist, M.L.Holton
Just under 100 new images, in a lovely 9x11 hardcover book. 
Published by MLH Productions/Acorn Press Canada
Accepting Orders NOW!

Thanks for supporting my work!

Wednesday, February 15, 2017

New Series: Mountain Studies - New Paintings by M.L.Holton

I've been thinking a lot about mountains lately, as a natural 'form': how they tower above us, yet draw their vitality from below (like volcanoes, or mountain ridges that are the result of massive shifting geo-plates).

Mountain Study - HOPE - by M.L.Holton / acrylic on board / FOR SALE
Humans engage with these 'forms' in a variety of different emotional ways, either with veneration (appealing to hope and lofty sentiments of aspiring majesty etc,) or with fear (of a greater unknown, an object forbidding and insurmountable, of threatening power etc.)

I want and need to explore this further ...

I'll be drawing on my past experiences of time spent in & around the 'new' mountains of British Columbia and Alberta, first as a teen and then as an older woman. And I'll be considering too the 'older' mountains of Quebec & Ontario, those old rollers who lack the sharp edges of the West.

Mountains BECKON ... they draw us to them.

Mountain Study - Prospecting - by M.L.Holton / acrylic on board - FOR SALE
My preferred tool for this exploration is a trowel, or painter's spatula - with a very sharp flat edge to 'carve' and 'excavate'  paint. Inherent is this idea is the notion of 'prospecting' - or hunting - for minerals, gold, or food and water - hunting for nourishment - literal and metaphysical ...

(If interested in the above works, let me know.
For now, I'm not framing anything.)

UPDATE, March 27th. 
Have finished the triptych - with a gold leaf 'vein' running through all 3 boards.
I will be framing only the centre board ... 

Triptych - Mountain Core - Acrylic with gold leaf, by M.L.Holton, 2017
Centre panel - Triptych - Mountain Core, by Canadian painter, M.L.Holton

Monday, February 6, 2017

The Frozen Goose, Canadian Film - One Year Later

One Year Later - Final scene location for The Frozen Goose film
One year ago today, after nine months of rehearsals, the local cast & crew dove in for an intense 6 days of film-making in North Burlington, Milton and at Westfield Heritage Village in southern Ontario, Canada.

One year later, this completed 25 minute Canadian film, about the psychic devastation that World War One wrought on one rural family, is a Reel Keeper! - Thanks to a superb cast: Leslie Gray as 'Leslie', John Fort as 'Tom', Rod McTaggart as 'Uncle Harry' - with youngsters Hannah Ralph playing 'Bella' & Cameron Brindle as 'Charlie! - Plus, a shout-out to local film champion, Nathan Fleet for keeping me rolling in the right direction during all aspects of production.

Clockwise: Two young stars, Hannah Ralph as 'Bella' & Cameron Brindle as 'Charlie', ruby red mittens made for the shoot, Cover Shot from The View Magazine review in December, 2016, plus DVDs on display at Canadian library.
(Here are some additional  'behind-the-scenes' from the 1st Day of the shoot.)

Releasing on September 11th, 2016, with a World Premiere at the Art Gallery of Burlington, it was very gratifying to see & hear audience's reaction, (from 2 sold-out screenings), for all the hard work all had put in. Overall, since 2014, there have been 18 pieces of PRESS written about this film.  The First Edition DVDs also sold out within the first two weeks of release.

Slowly but surely, as Producer, Director and Writer, I am now planning the BEST way to carry this small, yet timely, project forward ... Two distributors have offered Contracts. But, in the current topsy-turvy world of internet broadcasting, their EXCLUSIVE 5 to 7-year terms may not be, in fact, the best way ahead ... While I weigh out the pros and cons of this aspect of production, this wonderful family-friendly film is now Available ON-LINE  - GIVE A GANDER!

Cameron Brindle, as 'Charlie', getting ready for Take 4 at another private location in Halton County.
 Watch & Share The FROZEN GOOSE on-line 

Tuesday, January 31, 2017

'Last Stand': The Distemper of Our Times, by M.L.Holton

'Last Stand' by M.L.Holton - SOLD
I remember when I painted this piece several years ago. I had just learned that a group of citizens had lost the legal battle to save a large natural park, designated as a UNESCO Biosphere, from getting tons of fake grass - aka artificial turf - dumped into it for the Pan Am Games. (That organization also dumped 6 million dollars in the City of Burlington coffers ... )

It seems that we, as humans, just cant leave well enough alone and MUST dump our sh*t everywhere ... The recent emergence of Donald Trump as President in the US amplifies this tendency. I do recognize that he was 'elected', just as Stephen Harper was 'elected' in Canada over a decade ago - BUT, when he so clearly wants to obliterate anything related to a healthy relationship to the planet, I, as so many others, MUST resist.

Technological advancements - and science - are pushing out the necessity for fossil fuels to power us and industry. A NEW era of sustainability & renewable energy is very much within our grasp. Yet, for the moment, the old dogs of the military-industrial-complex, fueled by fossil-fuel global conglomerates, are HOLDING ON. Increasingly, it looks as though they are determined to hurl us all into another World War.  --- Do any doubt it won't be nuclear?

There is a great sadness at this thought. A great overwhelming sadness that this is what the dominant bullies in humanity now seek : total Self-destruction - total Obliteration.

And for WHAT? Money? Power?  It is incomprehensible to me what they want - aside from more MONEY & POWER. It seems they are desperate to demonstrate their ability to DESTROY - to be CRUEL - to any who oppose them. This has gone waaaay beyond race, religion, ideology or anything else - it's about POWER and CONTROL. 

Read, as example, about Steve Bannon - Trump's current Chief Strategist. Basic info can be found on Wikipedia: (Take a brief look as well at the 'editing history'.)  Here too is an insightful profile that outlines who & how he sets out to manipulate mainstream media.  - Both articles demonstrate his craven need to CONTROL.

His old boss described him as the 'Leni Riefenstahl  of the Tea Party movement.
Others have called him the Master Puppeteer ... 
Personally, I think it most telling that he's been divorced THREE times.

Anyway, that's my mini rant for today. It is important, for me, to KEEP ON doing what I do - as an artist, as an observer, as a witness to our times - to not become overcome by the 'shock & awe' these super-pumped-up dudes are trying to engender. Just KEEP ON and -
LIVE a GOOD Life. 
Above all, be KIND to Mother Earth.

Tuesday, January 17, 2017

Cathedral Skies by M.L.Holton

Have had sudden interest in this photographic image, 'Cathedral Skies' . A result of a 'aha moment' when last out for a winter walk .... If you would like to purchase, as a print or as an image on another products,  please review in detail via my FINE ART AMERICA Retail Outlet. Great quality, fast shipping & a good price!  Sorry about watermark here - but you get the idea ...  :)  Have supplied handy price list below too, so you can assess cost. - mlh

Monday, January 16, 2017

Frida Kahlo at Home - Book Review by M.L.Holton

Review pre-amble: Recently, I was invited to review a book about artist, Frida Kahlo. The book itself, the production of it, was splendid. But the more I considered the content, the more I found it was raising more questions about the artist and her work then it settled ... To wit:

Artist Frida Kahlo's Blood Bath at Casa Azul -
Book Review by M.L.Holton 

Review of 'Frida Kahlo At Home, by Suzanne Barbezat' - by M.L.Holton 
Published by Frances Lincoln Limited. 160pp, illustrated, 8.9" x 10.2", hard-cover. 
All images reproduced from the publication.  ISBN: 9780711237322   US $35 / CDN $45

Little known beyond the art circles of her own lifetime, Mexican artist, Frida Kahlo's ghoulish self-portraits throw a very long shadow today. This is surprising, given that Kahlo painted only 200 artworks during her entire life. One third of those works were her broody, introspective self-portraits, often depicting herself in a state of physical or psychological suffering, with the majority of them amplifying mutilated blood-gushing body parts.

Most contemporary international art critics and collectors are aware of these disturbing blood-soaked self-portraits. Yet, for all her notoriety of today, (with her equally uncompromising full-frontal uni-brow stare-downs), it is intriguing to note that there was only one exhibition of her art work, ever, while she was alive, in her home and native land of Mexico.

So, how did the current 'Cult of Frida' develop?

Travel writer and anthropologist, Suzanne Barbezat, provides substantial clues in her heavily illustrated coffee-table book, entitled, "Frida Kahlo at Home'. It is a well-documented treasure trove of Kahlo ephemera: with striking interior and exterior photographs of Kahlo's primary residence, La Casa Azul, aka The Blue House. The book also contains intriguing snippets of personal letters and memorabilia between herself and her husband, Diego Rivera - as well as her assorted lovers, including Russian communist revolutionary leader, Leon Troksky, and the American-Japanese sculptor, Isamu Noguchi. Many chronological reproductions of Kahlo's work flush out this tribute.

As the book press release states: "La Casa Azul, now one of the most visited museums in Mexico City, was the birthplace of the artist, Frida Khalo. It was the home where she grew up, where she lived with her husband, Diego Rivera, and where she died. She also spent significant periods of time in the house convalescing: first, when she contracted polio as a small child and again at the age of 18, after the trolley accident, which left her critically injured. Confined to her bed in casts and orthopedic devices and in constant pain, the bedroom at La Casa Azul is where Frida began to paint the vibrant and unflinching portraits and self-portraits that would make her name'".

But, Who Was She? Frida Kahlo, christened Magdalena Carmen Frieda Kahlo y Calderon, was born in Mexico to a German father, Carl Wilhelm Kahlo, (who changed his name to Guillermo Kahlo when he emigrated), and a Spanish-Mexican mother, Matilde, (his second wife.).  She was raised with certain privileges, attending a private German prep school, and receiving a pious Catholic indoctrination via her very devout mother.

Photo of Frida, taken by her father, 1926.
Frida only went 'native' after she began her lifelong association with famed Mexican artist and self-proclaimed atheist, Diego Rivera. First, as his student, then later, as his wife. They were married in 1929. She was 22, he was 42.

Diego had already built a substantial artistic persona as a 'Mexican nationalist'. He was very vocal about the class struggle and revolutionary war that defined his nation. Magnetic, and a polarizing provocateur of the labour movement, his public mural work amplified his knowledge of Mayan traditions and mythologies, pre-and-post colonial-revolutionary atrocities, and his abiding interest in the political struggles of the working-class.

It was he who assembled the pre-Colombian art collection that now resides in Anahuacalli, their 'country house'. (This house was completed, after they both died, by architect Juan O'Gorman and Diego's daughter, from a previous marriage.) It was he who was "intent on ensuring his and Frida's legacy." This, even after he married his long-time mistress, Emma Hurtrado, a year after Kahlo's death. "He created at trust through the Bank of Mexico, leaving The Blue House and Anahuacalli, as well as their contents, to the people of Mexico." He appointed another long time female friend, wealthy arts patron, Dolores Olmedo, (and one of his earliest models), as director of that trust.

Dolores and Frida were child-hood rivals. Dolores often bought Rivera's work, and only bought Frida's work at Diego's request. "She openly did not care for Frida or her work." Nonetheless, the trust was established, and after a modest re-staging, the Frida Kahlo House/Museum, aka The Casa Azul or Blue House, opened to the public in 1958. 

Twelve years after her death, a low-budget documentary, entitled, 'The Life and Death of Frida Kahlo as Told to Karen and David Crommie' made its debut at the San Francisco Film Festival. In 1983, a weighty biography was written by art historian, Hayden Herrera. In 2002, famed Mexican actress, Salma Hayek, co-produced, and starred in, the Oscar-winning feature film, 'Frida'. 

Today, Frida Kahlo has been whole-heartedly 'adopted' by a fervently nationalistic Mexican government and citizenry. They now claim her as their own. Kahlo's distinctive self-portrait, dressed as she invariably was, in the traditional Tehuana costume of an indigenous maiden, has even appeared on Mexican currency. She has achieved iconic, near 'saintly', national status.

Who, then, was Frida's husband, Diego Rivera? Diego was born to two middle-class teachers in 1886 in Guanajuato. His mother was a devoted Catholic mestiza (part European, part Indian) and his father, a criollo (Mexican of European descent). When he was six, his liberal-minded family moved from Guanajuato to Mexico City. Rivera became a Marxist, and a member of  the Mexican Communist Party.

In 1907, (the year Frida was born), Diego Rivera was continuing his arts and political studies in Europe. He met and became friends with several famous artists of the day, including Pablo Picasso, Marc Chagall and Piet Mondrian. He studied Cubism in Spain and toured Italian frescos. He developed associations with European and Russian 'social justice' revolutionaries active in the Soviet Union. He met and befriended Leon Trotsky.

Rivera's first serious government commission, in 1923, was for a series of murals for the Secretaria de Educacion Publica in Mexico City. This work soon established his prominence in what would become known as the Mexican Mural Renaissance. Painting in a style deeply indebted to pre-Colombian culture, he created large complex panoramic images of Mexican daily life. As he wrote, "When art is true, it is one with nature. This is the secret of primitive art and also of the art of the masters—Michelangelo, C├ęzanne, Seurat, and Renoir. The secret of my best work is that it is Mexican." Raised radically, he soon became 'Mexican' to the core - and Frida adored him.

Detail from 'Freida & Diego' (1931). She called herself Freida, not Frida then.
Their love story was tempestuous from the start. Kahlo, younger by two decades, also joined the Mexican Communist Party, and, though petite and frail in comparison, she soon became an enamored disciple of this, as she wrote, "Pot-Bellied Genius". She courted him when he was still married to his second wife, and he, impressed by her seduction and burgeoning artistic sensibilities, succumbed. Their subsequent marriage was rift with upsets, break-downs, philandering (on both sides), divorce and a re-marriage.

Over time though, they did hold on to each other. When Rivera died he wanted his cremated ashes blended with hers. This never happened. But, in keeping with both of their passionate and rather narcissistic personalities, it remained a 'romantic ideal'. .... Some could say that Rivera understood the necessity of 'roots' far better then she did. 

He undoubtedly understood her dual-identity crisis. He had struggled with this himself, experimenting with European styles of painting, before embracing, whole-hog, his Mexican lineage. Frida, on the other hand, struggled, played the role well enough, but suffered. Always suffering. Diego would, as example, have her pose, dressed in peasant garb, for his murals. She, educated, erudite and well-traveled, would pose.

Detail from Rivera's 1940 mural,  'Pan American Unity', showing Frida in native dress.

Clearly though, she was no peasant.

Truth be told, fabricating and mythologizing their lives was not beyond either of them. Frida re-invented her birth date to coincide with the National Revolution. Rivera laid claim to fighting with Zapata. Both stories are untrue.
The sole exhibition of Kahlo's painted works in Mexico City was organized near the end of her life at the National Arts Institute by an old family friend and school mate of Frida's. Not to miss the occasion, Kahlo arrived in an ambulance. She was wheeled into the exhibit on a bed.

She died several years later, in July of 1954, aged 47: some suspect of suicide. It is common knowledge that during the last years of her life she lived on pain-killers. Her deteriorating condition, including the amputation of her leg, severely diminished her focus to produce much new work. Instead, she wrote and drew in journals. Many are now preserved in the Blue House.

Kahlo's art constantly shows the struggles she endured through various stages of 'identity'. After the Revolution, in 1922, when she was fifteen, she was one of only thirty-five girls admitted to the newly formed National Preparatory School. She studied the natural sciences there in the hope of advancing into medicine. However, after her childhood bout of polio, (that shortened and damaged her leg), and the later bus crash, (that battered her body, leaving her spine, pelvis and collar bone broken), she was often sickly and bed-ridden. It was during the latter recovery, while convalescing, that she began to experiment with paints.

Her self-portraits display the conflicting realities of two opposing world views. Euro-petticoats and hand-plucked lace versus Mexican-peasant garb and hand-woven cotton. Quite often there is gushing blood everywhere.

Here's one horrific example:

A Few Small Nips', (1935) by Frida Kahlo. Now in the collection of the Dolores Olemedo Museum, the original Trustee of Rivera's Estate. Note Frida's euro-style shoe.
Looking at the reproductions of her paintings in this book, it is apparent that Kahlo created a kind of hybrid and, to my eye, pseudo, folk-art. Some art historians and personal friends, like French founder of the Surrealist movement, Andre Breton, tried to place her 'style' into the Surrealist camp. (He arranged her first exhibition in France.) But it is a label that she herself vehemently rejected. Mostly, her work was private and obsessively autobiographical.

Detail, 'Love Embrace of the Universe' by Frida Kahlo (1949).

Now, in 2017, from the vantage point of Canada's current cultural perspective, (especially in the wake of the recent Joseph Boyden 'native ancestry' imbroglio), Frida Kahlo could undoubtedly be dragged over hot coals for so openly impersonating, expropriating and interpreting the indigenous culture within the boundaries of the country where she was born and raised. Rather then revered as a national cultural icon, she could just as easily be vilified as a 'Settler Expropriator'.

Many post-colonialists would unequivocally agree: both she and Diego were expropriating Settlers. But, within the ever-spinning politics of the 'Greater Good of Nationalism', most Mexican nationalists - evolving within their own young democracy - would argue that, no, she - and he - were not expropriating anything. As artists of their day, they represented the new and emerging Mexico, freed from the shackles of early colonialism and class servitude.

Putting aside the topsy-turvy push-and-pull politics of contemporary nationalism, Frida was very clearly her own woman with a unique, albeit exceedingly eccentric, outlook on life. Hailed by some as a feminist, for her fearless autobiographical and brutal depictions of personal pain, there is no question that the rich European and Mezo-American cultures in which she lived and breathed, shaped and informed her wider world vision.

Barbezat's book is full of well-researched trivia that adds yet another layer of historic sediment to this now very identifiable 'Mexican' artist. Semi-deified now within the lexicon of Mexican history, Kahlo's cremated remains lay at rest, entombed in the Blue House Museum. Frida Kahlo, artist - and forever the wife of Mexican artist, Diego Rivera - could never have emerged from anywhere else.

Frida, at home, in the Blue House, dressed in traditional Tehuana garb, circa 1940. 
 This story is now published  Raise the Hammer, January 16th, 2017.

Thursday, January 5, 2017

Year End Photo Choice - by M.L.Holton

It's always fun & interesting to 'review' work from the previous year. Last year was busy: 7 art shows, my film The Frozen Goose, various art jury duties etc, but oddly, there is one photo that kind of sums it all up for me. This image was shot, wide angle, while at the Rockton World's Fair in the fall of 2016, then tightly cropped to place this father-daughter team - front-and-centre.

It's just so NOW. 
Locally & globally. 
- enjoy -

NOW -  by M.L.Holton, Canada - Copyright protected.