What is interesting, is that the Frida Kahlo venerated by American feminists is a very different Frida Kahlo to the one people learn about in Mexico, in the Chicano community. In her country, she is recognized as an important artist and a key figure in revolutionary politics of early 20th century Mexico. Her communist affiliations are made very clear. Her relationship with Trotsky is underscored. All her political activities with Diego Rivera are constantly emphasized. The connection between her art and her politics is always made. When Chicana artists became interested in Frida Kahlo in the ‘70s and started organizing homages, they made the connection between her artistic project and theirs because they too were searching for an aesthetic compliment to a political view that was radical and emancipatory. But when the Euro-American feminists latch onto Frida Kahlo in the early ‘80s and when the American mainstream caught on to her, she was transformed into a figure of suffering. I am very critical of that form of appropriation.
Coco Fusco on her Amerindians piece from 1992 with Guillermo Gómez-Peña (via tofunkey)
It is so hard to leave—until you leave. And then it is the easiest goddamned thing in the world.
John Green, Paper Towns (via observando)
I hope you look for me in everyone you meet.
Because I Look For You (#206: February 27, 2014)
She’ll make your wildest dreams come true at a price you won’t forget.
*gets insulted* Nah I don’t care, my mom has said worse to me
I want someone to look at me the way I look at chocolate cake