Juxtapoz loves a good portrait and the world loves a good selfie. For over 30 years we have put countless portraits, self-portraits and faces on the cover of our magazine, from collage to oil paintings, photography to murals, so we can honestly tell you this: we love a portrait. Art take on a new life for us in terms of documenting and speaking to artists about the joys and perils of a good self-portrait. From the ME!: Art History and the Selfie show we helped produce in 2020, to features on the likes of Lamar Peterson, Rebecca Ness and Jenny Morgan who often use the self-portrait as a tool and emotion, we love to speak about the essence of self. Even our Summer 2024 Quarterly features a self-portrait (of sorts), as Mickalene Thomas has long found the power of paint and collage as a means to examine self-hood in art history. The painter Jameson Green recently said to us about his self-portraits, “the closer I get to the core, or the meat of the soul of myself, the more truthful the art becomes.”
Which brings us Frida Kahlo. Do you know the backstory behind this self-portrait by Frida Kahlo? As part of a 5-week summer collaboration between the Sotheby’s Institute of Art and our Jux Saturday School series, this week we take a look at the story behind a famous work of art, the intrigue in its creation and the forming of a true art historical work by one of the world’s most famous artists.
Sotheby’s Institute of Art is the pioneer of art business studies, combining cultural stewardship with art market leadership. For over 50 years, our graduates have made strides in every field of the art world, from auction houses, galleries, and museums to foundations, art fairs, and private collections.
For more information, visit https://www.sothebysinstitute.com/
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