Eliana Willis

Featuring more than 150 works, the exhibition “Frida & Diego: Love & Revolution” currently running at the Art Gallery of South Australia (AGSA) in Adelaide is more than just a presentation of the iconic art of Frida Kahlo and Diego Rivera.
Drawing from the renowned collection assembled by Jacques and Natasha Gelman, this elaborate exhibition tells the intimate story of Kahlo and Rivera as a couple whose lives were intertwined with art, passion, and politics, against the backdrop of the post-revolution Mexico, from the 1920s to the 1950s.
The show, which spans three galleries, presents not just Kahlo and Rivera’s paintings, works on paper, and rarely seen photographs and period clothing—it also shows works by other Mexican modernists, including Manuel and Lola Álvarez Bravo, Miguel Covarrubias, María Izquierdo, Carlos Mérida, and David Alfaro Siqueiros.
The colorful exhibition design also reflects the turbulent times that the Gelmans lived through during the 20th century while building their collection. Jacques Gelman was born in St. Petersburg to Jewish parents and went on to become a film producer and distributor in Paris before moving to Mexico in 1938, just before the outbreak of World War II. There in Mexico, he met Natasha Zahalka, who was also a migrant from Europe, and the couple wedded in 1941 in Mexico City. It was during their years in Mexico that they began to become involved in art, forming a close friendship with Kahlo and Rivera and collecting their works as well as works by others of Mexican modernists.
The exhibition runs through September 17.
Installation view: ‘Frida & Diego: Love & Revolution,’ featuring Frida Kahlo’s Self-portrait with monkeys, Art Gallery of South Australia, Adelaide; photo: Saul Steed.
Installation view: Frida & Diego: Love & Revolution, Art Gallery of South Australia, Adelaide; photo: Saul Steed
Installation view: Frida & Diego: Love & Revolution, Art Gallery of South Australia, Adelaide; photo: Saul Steed
Installation view: Frida & Diego: Love & Revolution, Art Gallery of South Australia, Adelaide; photo: Saul Steed
Installation view: “Frida & Diego: Love & Revolution,” featuring Ángel Zarraga’s Portrait of Jacques Gelman and Diego Rivera’s Portrait of Natasha Gelman, Art Gallery of South Australia, Adelaide; photo: Saul Steed
Diego Rivera, born Guanajuanto City, Mexico 1886, died Mexico City 1957, Calla lily vendor, 1943, Mexico City, oil on board, 150.0 x 120.0 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation.
Diego Rivera, born Guanajuanto City, Mexico 1886, died Mexico City 1957, Sunflowers, 1943, Mexico City, oil on canvas, 90 x 130 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Diego Rivera, born Guanajuanto City, Mexico 1886, died Mexico City 1957, Landscape with cacti, 1931, Mexico City, oil on canvas, 125.5 x 150 cm, The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Unknown Artist, Frida and Diego remarry, San Francisco, 1940, San Francisco, California, United States of America, gelatin- silver photograph, 23.5 x 18.4 cm; Throckmorton Fine Art, New York
Bernard Silberstein, born Chicago, Illinois, United States of America 1905, died Cincinnati, Ohio, United States of America 1999, Frida paints “Diego on my mind” while Diego watches, 1940, Coyoacan, Mexico, gelatin-silver photograph, 43.2 x 35.6 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Frida Kahlo, born Mexico City 1907, died Mexico City 1954, The bride who becomes frightened when she sees life opened, 1943, Coyoacan, Mexico, oil on canvas, 63 x 81.5 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Lola Alvarez Bravo, born Lagos de Moreno, Mexico 1903, died Mexico City, Mexico 1993, Frida Kahlo, 1944, Mexico City, gelatin-silver photograph, 25.4 x 20.3 cm; Throckmorton Fine Art, New York
Maria Izquierdo, born San Juan de los Lagos, Mexico 1902, died Mexico City 1955, Bride from Papantla (portrait of Rosalba Portes Gil), 1944, Mexico City, oil on canvas, 125.0 x 100.0 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Juan Guzman, born Cologne, Germany 1911, died Mexico City 1982, Frida at ABC Hospital holding a mirror, Mexico, 1950, Mexico City, gelatin-silver photograph, 24.1 x 19.0 cm; Throckmorton Fine Art, New York
Frida Kahlo, born Mexico City 1907, died Mexico City 1954, Self-portrait with red and gold dress, 1941, Coyoacan, Mexico, oil on canvas, 39.0 x 27.5 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Frida Kahlo, born Mexico City 1907, died Mexico City 1954, Diego on my mind (Self-portrait as Tehuana), 1943, Coyoacan, Mexico, oil on board, 76 x 61 cm; The Jacques and Natasha Gelman Collection of 20th Century Mexican Art and the Vergel Foundation
Unknown Artist, Frida and Diego with Fulang Chang, 1937, gelatin-silver photograph, 12.7 x 10.16 cm; Throckmorton Fine Art, New York
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Despite Russia’s ongoing attack on Ukraine, the Kyiv Biennial will return for its 5th edition this fall with a series of dispersed exhibitions hosted at six sites internationally. The program will start in Kyiv, Ukraine, and head to Vienna, Austria, in October. Further events are planned for Warsaw, Poland, and two more Ukrainian cities, Uzhhorod and Ivano-Frankivsk, before a final exhibition takes place in Berlin, Germany, in 2024.
It was not clear until recently whether going ahead with this year’s edition would be possible. “It’s one of the roles of the cultural realm to counter the logic of war, which also attacks everything that is civil by destroying cultural infrastructure,” Vasyl Cherepanyn, who organizes the biennial, told Artnet News. “This is a deliberate attack on our cultural identity. It’s very important to counter these genocidal intentions.”
The Kyiv Biennial was founded in 2015, partly in response to the 2014 Maidan Revolution, also known as the Revolution of Dignity, and Russia’s subsequent invasion of Crimea that same year. In the years since, the biennial has promoted art as a crucial but under-utilized means of activism, resistance, and political engagement, marking the centenary of the October Revolution in 2017, revisiting the Chernobyl disaster, the fall of the Berlin Wall in 2019, and, in 2021, spotlighting anti-fascist alliances across Europe.
This year’s edition will address the immediate aftershocks of war and displacement, as well as Russia’s historical and ongoing cultural attack on Ukraine’s land, people, and way of life. Due to its international sprawl and extended run, the biennial has been recast as a European “perennial” project that foregrounds the importance of international solidarity and unifies the Ukraine’s artistic community which is currently scattered across Europe.
Members of the public relax by the Dnipro River after the water receded due to the blowing up of the Kakhovka Dam by Russian occupiers on June 6, 2023. Photo by Ukrinform/NurPhoto via Getty Images.
In Kyiv, the Dovzhenko Centre will use its extensive film archive to present a discursive project about Ukraine’s Dnipro River, tracing its historical role in dividing Ukraine, its symbolic resonances in art and literature, and its recent weaponization through the devastating breach of the Kakhovka Dam by Russian forces in June.
Two more exhibitions will take place at the art gallery Asortymentna Kimnata in Ivano-Frankivsk and at the venue Sorry, No Rooms Available in Uzhhorod, both cities in western Ukraine that lie relatively far from the frontline. The venues emerged in their current form as a result of the war, offering emergency residencies for artists evacuated from more heavily bombarded areas. Artworks produced over the past 15 months will be exhibited with the hope of supporting these new initiatives and making them sustainable models long-term.
“The artists [exhibiting in the biennial] were not only seeking refuge, but also conditions to live and work while staying in Ukraine,” explained Cherepanyn. “This is a really unique social phenomenon, because these places are a melting pot for artists and curators from different regions and have become very productive sites for collaboration.”
Although it felt important that the biennial take place inside Ukraine “against all odds,” the situation remains unpredictable enough that the main part of the show will be hosted by the space tranzit.at in Vienna. A long-standing partner of the biennial, this fringe cultural hub helped set up Office Ukraine Vienna, an initiative that supported Ukrainian artists and curators who had fled the war. The exhibition will host around 30 or 40 artists from Ukraine and other countries.
“It is not just Ukrainian or Eastern European artists who have a lot to say about the war. It is important that Western artists respond” said Cherepanyn. “This is not just a local conflict between some Slavic nations. One of the purposes of this exhibition is to get an understanding that this is a major European war. How did a new fascist war in Europe become possible? The whole continent has to deeply rethink how ‘never again’ became possible again.”

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In 1939, and then again in 1964, Queens, New York played host to the World’s Fair, an international expo where countries came together to show off their achievements in technology and industry. This September, the borough will play host to a different event: The World’s UnFair. 
That’s the name of a new Creative Time-presented project by the collective New Red Order (NRO). With artworks, film screenings, and musical performances, the event will mimic the elaborate pageants of yore, albeit with a different agenda: to expose, in the group’s words, the United States as an “ongoing occupation of stolen Indigenous land.” 
Founded by artists Adam and Zack Khalil (who are both Ojibway, Sault Ste. Marie Tribe of Chippewa Indians) and Jackson Polys (Tlingit), New Red Order identifies itself as a “public secret society composed of networks of informants and accomplices dedicated to rechanneling desires for indigeneity towards the expansion of Indigenous futures.” That may be a mouthful, but the group’s central message is pointedly uncomplicated: “Give it back.”  
New Red Order. Courtesy of the artists.
For NRO, the phrase is a call to action: return all land to the peoples who were forcibly displaced from it by settler colonialists. Through its larger, ongoing research project—also called Give It Back—the group investigates and promotes real-life instances where this exchange has voluntarily taken place.  
“New Red Order’s whole work is about harnessing people’s desire for indigeneity—to co-opt it, to appropriate it, to assume it,” said Creative Time curator Diya Vij, who is organizing The World’s UnFair with the collective. NRO’s goal, she went on, is to “take that desire and turn it toward a pathway for [transforming] settlers into accomplices in the return of all indigenous land and life.” 
“They say ‘Give it back’ instead of ‘land back’ because it is something that we can all do. It is a giving and not a taking. It’s being in community together,” Vij added.
Among other attractions, The World’s UnFair will feature an installation of hundreds of tribal flags, signposts indicating the site’s proximity to present day locations of diasporic Lenape communities, and a large-scale video sculpture—titled Fort Freedumb—enwrapped in various forms of fencing. At the center of the fair will be Dexter and Sinister (2023), an animatronic talking tree and beaver that chat with each other about issues of land and the concept of private property. 
An illustrative map for New Red Order’s upcoming The World’s UnFair project. Courtesy of NRO and Creative Time.
That NRO would be interested in the World’s Fairs make sense. With its expos, the U.S. has a troubling history of exploiting indigenous and other minority communities to prop up its own imperialist ideologies. The Chicago World’s Fair of 1893, for instance, barred people of color from participating in the event’s central “White City” section. The St. Louis iteration of 1904 put Filipinos and Native Americans on display to demonstrate “uncivilized” cultures. 
“In a time where the future appears bleak or non-existent, giving it back offers a bright path forward, a way for us to survive an apocalypse together,” NRO said in a joint statement. “The landmass here is enormous. And its ecological capacity to sustain life is immense if we care for these resources correctly. You can have a place. But first things first: Give it back.”   
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For years, artist Sterling Wells has made the urban waterways of Los Angeles an extension of his studio, drawn to the interplay of nature and the manmade, marine life and the detritus that inevitably collects in these oft-overlooked corners of the city.
“I’ve never wanted to just paint seamless nature,” Wells told Artnet News. “I always want there to be the contrast between the soft fluid marks of nature and the hard edges and geometric shapes of architecture and graphic design.”
Last month, in pursuit of that vision, Wells was out on Ballona Creek in Playa Vista on the city’s West Side. He was hard at work finishing the construction of a somewhat ramshackle floating studio where he planned to create work for his current solo show, “A New Flood,” at Los Angeles’s Night Gallery. Then, he heard the helicopter overhead.
Local news outlet FOX 11 had caught wind of the unusual vessel floating in the waterway thanks to Reddit, and a reporter was coming to investigate concerns that the art project was a homeless encampment.
Sterling Wells working in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
“I got a book from the library about how to build homemade house boats. The base has these beams in a grid that are supported by rain barrels that kind of act as pontoons. I bought them from this Mediterranean import company in Gardena and they’re actually barrels for pepperoncini,” Wells said. “I had been building it for three weeks, and had just brought all of my stuff there to start painting.”
The goal was to use the raft to store his art supplies, but also to anchor in a fixed position so Wells could capture a single view over multiple days as the weather and water conditions changed.
The watercraft also had bird blinds, to help the artist observe the local water fowl without disturbing them. And yes, he probably would have slept there sometimes, to help avoid the 40- to 90-minute drive back home to Highland Park, 15 miles away.
Sterling Wells’s sketches of the raft and its bird blinds. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
They say no publicity is bad publicity, but the news story caught the eye of government officials. The next morning, officials from L.A. County Public Works arrived, damaged the raft pulling it out of the water, and forced Wells to apply for a permit for his waterborne studio. (The exhibition’s title is taken from the subject line of the city’s emailed response to Wells’s application, which read “A New flood—access Permit has been CREATED.”)
Unfortunately, however, the city put the kibosh on the project. Wells never got a concrete reason why, but he suspects an angry local—who claimed to own the property and disapproved of the raft—played a role.
“In one of my last conversations with L.A. County Public Works, I was told that according to the county code, people are not allowed to be in the flood control channel. I said, ‘you know, I’ve been painting at the site for a long time with no problem. Why can’t I just continue doing what I’ve been doing?’” Wells recalled. “And she said, ‘well, we weren’t paying attention to you—but now that we are, you’re not allowed to be there.’”
Sterling Wells’s worksite in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Nevertheless, the artist continued to create on site sans barge, transporting it to the gallery, where it is now the centerpiece of his solo show. (The hope is to eventually have a permit approved and get it back on the water.)
“The drama with the raft kind of was a big distraction from my actual paintings,” Wells said.
To finish the body of work in time for the opening, Wells got a nearby motel room for five nights, wading into Ballona Creek each day to paint.
Sterling Wells’s raft on view in “Sterling Wells: A New Flood” at Night Gallery, Los Angeles. Photo courtesy of Night Gallery, Los Angeles.
“I chose this site because it’s neglected and unmaintained. It’s not a nature preserve that’s cleaned up. There’s a bird’s nest right next to drifts of litter and garbage, and there’s dead birds and the seagull that has a fishing lure stuck in its leg,” he said. “I like painting the trash—the water bottles and accumulation of things that are floating by. Old bicycles and shopping carts and all these things that are on the bottom of the creek that are covered in barnacles and mussels.”
The resulting works are Well’s largest paintings to date, painted not only en plein air, but while standing in the contaminated waterway. Each one captures the view of the surrounding salt marsh, but also peering into the shallows.
Sterling Wells’s sketches of his worksite in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
“They’re about the transition of looking down at the water where it’s transparent, to looking across the water as it becomes an opaque surface. I’m looking through the water, at light hitting objects at the bottom of the creek, at light hitting the surface of the water, and at things floating inside the water column,” Wells said.
That includes both the litter and the aquatic life that flows in and out of the creek with the ebb and flow of the rising and falling waters.
“I got really into the tide and the marine ecosystem. It’s two miles from the ocean, and there’s kelp and seaweed and crabs and mussels and birds,” the artist added.
With the raft out of commission, Wells worked instead with the smaller floating easels he had previously built using plastic bottles and milk jugs.
A Sterling Wells painting being created on a floating easel in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
“To paint from observation, your head has to stay in the same position. And so the floating easel allowed me to work large, moving the paper around my body and up and down into the water,” Wells explained. “But getting these pieces of paper to stay upright out in the middle of the water in the wind is incredibly challenging. I mean, everything’s constantly blowing over and floating away.”
Through that process, the creek becomes not only the subject of the work, but a physical part of the painting. The artist even mixes his watercolor pigment powders with the creek waters, allowing the process to manifest itself on the page as mud and algae splash onto the surface.
“It’s depicting water,” Wells said, “but it also is water.”
See more photos of the exhibition and the artist at work below.
Sterling Wells working in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Sterling Wells working in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Sterling Wells working in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Sterling Wells working in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Sterling Wells working in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Sterling Wells’s worksite in Ballona Creek, Los Angeles. Photo by Nik Massey, courtesy of Night Gallery, Los Angeles.
Installation view of “Sterling Wells: A New Flood” at Night Gallery, Los Angeles. Photo courtesy of Night Gallery, Los Angeles.
Sterling Wells’s raft on view in “Sterling Wells: A New Flood” at Night Gallery, Los Angeles. Photo courtesy of Night Gallery, Los Angeles.
“Sterling Wells: A New Flood” is on view at Night Gallery, 2050 Imperial Street, Los Angeles, California, through September 9.
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