viernes, 24 de julio de 2009

PRESIONAN LOS HOWARD


Opinión de Tibol

Al respecto, Tibol reiteró a La Jornada que se trata de documentos apócrifos, según pudo constatar cuando le remitieron una serie de “20 copias finas” de ese material para que emitiera su opinión al respecto.
“No es la caligrafía de Frida, ni cosa que se parezca”, señaló la especialista. “Están hechas en bloc tamaño carta, de papel amarillo rayado. Frida era muy cuidadosa en el tipo de papel que utilizaba para escribir, incluso así lo dice en varias cartas, cuando se refiere a la mala calidad del papel en que está escribiendo. Jamás he encontrado una carta escrita en un papel de esas características”, como en la citada colección, señaló.

“Además, están escritas en un lenguaje prostibulario, soez y burdo, que no hay que confundir con el lenguaje popular y pícaro de Frida, un lenguaje con gracia y conveniencia” del que dan cuenta “sus cartas auténticas”.
La colección propiedad del matrimonio Howard lleva por título El águila inválida: el coraje y la creatividad de Frida Kahlo. Fue adquirida por la pareja estadunidense –avencidada en San Miguel de Allende– en septiembre de 2005 y aunque no se especifica quién es el vendedor, se infiere que fue al anticuario Carlos Noyola Fuentes, de Monterrey, Nuevo León, a quien se menciona en los créditos.

El acervo consta de 43 documentos, de acuerdo con el certificado expedido por Arturo García Bustos (del cual La Jornada posee copia), con fecha 6 de marzo de 2006:
“Los señores Howard me enseñaron los originales de estas cartas y los dibujos que traían doblados y guardados en una preciosa cajita de artesanía mexicana, que en su interior se lee la firma de Frida Kahlo, y que contiene 37 importantes documentos, de los cuales ocho son cartas escritas por Frida Kahlo en sobres destinados a ella misma, 27 son notas casi todas firmadas y dos son postales de la ciudad de París, una escrita por ella, firmada FK, que nunca fueron enviadas.

“Además, me mostraron seis dibujos sobre papel de diferentes tamaños, realizados en tinta, acuarela y carbón, firmados por Frida Kahlo. Tengo el gusto de poder afirmar y dar fe de que se trata de 43 piezas auténticas de tan importante artista del siglo XX, Frida Kahlo, por lo cual extiendo esta carta de autenticidad que ampara la originalidad de esas obras pictóricas, notas, cartas y manuscritos.”
Ante la negativa a exhibirla en el centro El Nigromante, la colección se presentó en San Miguel de Allende, pero en una galería acondicionada en una tienda de nombre Casa Maxwell.
Inaugurada el 2 de octubre de 2006, con un costo de ingreso de 50 pesos, la muestra llevó por título Las cartas y dibujos secretos de Frida Kahlo. Para entonces la autenticidad de los documentos ya era respaldada por la pintora Rina Lazo, esposa de García Bustos y alumna de Frida; Fernando M. Díaz y Elena Brown Ghinis.
ANGEL VARGAS

jueves, 23 de julio de 2009

Falsos Fridas







Hace poco mirando la televisión en cadena nacional, ví que le daban demasiada importancia a una colección de una x persona que decía haber heredado algunas obras de Frida Kahlo que tenía su abuelo, a quien el Doctor Leo Eloesser o mejor conocido como "Doctorcito" había dado, no soy una experta en la obra de Frida Kahlo pero los que la admiramos y hemos seguido su vida como forma de estudio y vida podemos darnos cuenta cuando una pintura no es legitima, soy una estudiosa de los trazos de la pintora, de los temas que aborda para llevar a cabo una obra, de las personas que la rodearon, de los lugares que visitó, de las crudas experiencias personales, sociales y politicas en las que se vió envuelta, amores-desamores, traumas y sobre todo los momentos oníricos que expresaba en sus cuadros.

Es por ello que al darme cuenta que existen no solo estos falsos que ví en la televisión, me dí a la tarea de seguir buscando casos, unos muy sonados, otros perdidos en periódicos y publicaciones en la red, comentarios de gente experta, críticos de arte y sobre todo los testimonios del director de los Museos Dolores Olmedo, Diego Rivera-Anahuacalli y de la Casa Azul y personas muy apegadas a la pareja de artistas que aseguran la falsedad de las pinturas.

En este espacio dedico además de un homenaje a tan grandes artistas como Frida Kahlo y sobre todo a Diego Rivera, un espacio para estos fraudulentos cuadros que circulan en todo el mundo, ligas, eventos y demás información obtenida en distintos medios que me permitan crear un catálogo infinito de momentos creados a partir de vivencias personales y de la gente involucrada en el ámbito cultural y sobre todo con Frida y Diego.





NEW YORK TIMES
An Artist’s Treasures



"Sells All, Pews to Stones
MIDDLETOWN, Conn. — “Isn’t it just a lovely little church?” Marguerite Cogliati asked, looking around Shiloh Christian Church, a white-shingled building finished in the late 1860s at the edge of downtown here. Meanwhile a builder was ripping out chestnut wainscoting, and buyers browsed through the chestnut pews, floral stained glass, pipe organ with ivory buttons, and hand-cut foundation stones. Ms. Cogliati, an owner of Antiques on the Green in Woodbury, Conn., started selling off Shiloh’s components last weekend so that a Walgreens can replace the church (across the street from a CVS).
Salvaged chunks have found homes nearby. An Episcopal church bought the carved pulpit, and some windows will be used in Shiloh’s new church, under construction a mile away. An organ restorer is hauling out the pedals and tubes, and the altar will become a bar in “a Victorian home owned by a very eccentric tattoo artist,” said Fred Cogliati, Ms. Cogliati’s husband and business partner.
Predemolition church sell-offs have become something of a regional trend. In May a brick Victorian church in Fulton, N.Y., was dismantled, and pieces were auctioned off, to make room for a video store. Small-town churches, according to Ann-Isabel Friedman, director of the Sacred Sites Program at the
New York Landmarks Conservancy, are proving susceptible to development even in slow economic times. “Prominent locations with parking, that’s what the chain stores gun for,” she said"
FRIDA KAHLO SUITCASES
Frida Kahlo expressed masochistic love for her philandering husband, Diego Rivera, not only by incorporating his image into her self-portraits but also by obsessively monitoring his tastes in food.
In her recipe books, which turned up a few years ago at a reclusive collector’s home in Mexico City, Kahlo scribbled notes about which desserts and monkey brain dishes Rivera would eat “with great gluttony,” and how he would paw through tortillas on the table at Christmas and make them “simply disgusting.” She imagined a love potion that might tether him to her: concocted from wormseed twigs and ground-up toads, it would take effect after a “serenade during a night of an eternal moon.”
Carlos and Leticia Noyola, antiques dealers in San Miguel de Allende, Mexico, bought the Kahlo archive four years ago, along with suitcases and chipped lacquered boxes painted with Rivera and Kahlo’s names. The trove also contains Kahlo’s embroidered blouses, coral jewelry, lottery tickets, hotel receipts, taxidermied hummingbirds and a French medical textbook about amputation. “I am only a circus spectacle,” Kahlo wrote in the book’s margins, probably soon after her gangrenous lower right leg was removed in 1953.
The Noyolas have collaborated with Barbara Levine, a photography curator in San Miguel de Allende, on a book about the collection of more than 1,200 items, “Finding Frida Kahlo: Diaries, Letters, Recipes, Notes, Sketches, Stuffed Birds, and Other Newly Discovered Keepsakes” (written with Stephen Jaycox and due this fall from Princeton Architectural Press). It shows the clutter that the Noyolas acquired, although the couple now keep the artifacts in neat vitrines and binders at their store, La Buhardilla (the Attic).
Ms. Levine set out to document how everything looked when she first stopped by La Buhardilla last year. “I knew the material would become more formalized, sorted and classified, and this amazing landscape would not remain intact for very long,” she said in a recent phone interview. “I wanted people to experience the immediacy of the lifting of the lid, the looking into the case, the stories that shake loose as you unpack. It’s a question we can all relate to: What material universe do we leave behind by accident? What would happen if a stranger opened the boxes we all keep under the bed, or in shoe boxes up in the closet?”
The Noyolas bought the collection from a lawyer who lived behind double sets of gates. “The house was like a bunker,” protected by 200 dogs, and “everything was dirty, dusty and full of fungus,” the Noyolas explain in an interview with Ms. Levine in the book, adding that “we wish him to remain nameless.” The lawyer told the Noyolas that he purchased the artifacts in 1979 from a woodcarver who had been friends with the Riveras. (The dealers have since verified the story with scholars.) Kahlo bartered her pictures and trinkets for the craftsman’s picture frames, and just before her death in 1954 she handed him papers marked, “Personal Archive for my private life.” The Noyolas display the objects “in a guarded and restrained area,” they wrote in an e-mail message. “Curators, investigators, dealers, collectors, etc.,” can make appointments to browse but must be content with handling photocopies of the papers, not fragile originals. “At the moment the collection is not for sale,” they added. “Its economic value has not been quantified.” An institution or private collector could persuade them to part with it, but only if Kahlo’s suitcases stay together: “It would have to be sold in its entirety.”
CERAMIC VESSEL TROVE
Sidney Swidler, a retired architect in Bloomfield Hills, Mich., wants to keep his thousands of ceramic vessels out of storage. But his apartment’s floor-to-ceiling glass shelves could not hold any more of his American and European pieces. Made by studio potters mostly between 1970 and 2000, they include Angela Verdon’s ethereal china slashed with translucent stripes and Colin Pearson’s rough stoneware with shaved curls that seem about to fall off.
So on and off for a decade Mr. Swidler has been trying to find a museum that will accept his vessels while promising to keep many on view. The Crocker Art Museum in Sacramento, Calif., has met his conditions. Next year it will start showing his gift of 800 objects in 2,500 square feet of new galleries dedicated to ceramics.
“They’ve promised not to de-access for at least 50 years, and they’re publishing a catalog of everything,” Mr. Swidler said.
He started collecting ceramics in 1984 while living in Boston. He wandered down Newbury Street during a ceramists’ convention when galleries that did not normally handle clay had stocked their windows with handmade ceramics and found himself drawn to everything from Lucie Rie’s striped cylinder vases to Chris Gustin’s cartoony puffed teapots.
“I had to limit myself somehow, so I decided everything has to have at least a vessel form,” even if it could not actually hold water, he said. “There’s been no straight sculpture, no wall plaques or tiles. The piece has to have started out as a pot, at first, in the potter’s mind.”
By EVE M. KAHN
Published: June 25, 2009




FALSOS FRIDAS


http://impreso.milenio.com/node/8553966


http://www.elpais.com/articulo/cultura/Frida/Kahlo/pinta/muerta/viva/elpepucul/20090402elpepucul_2/Tes


http://www.alertadigital.com/content/view/84392/4550/



http://www.nytimes.com/2009/06/26/arts/design/26antiques.html?_r=1&scp=3&sq=an%20artist%C2%B4s%20treasures%20june%2026&st=cse

http://www.emol.com/noticias/magazine/detalle/detallenoticias.asp?idnoticia=260398