As a lifelong gamer of art history and a collector of unique stories, I find myself utterly captivated by the tale of Magdalena Suarez Frimkess. This feisty nonagenarian is not just surviving at 95, she’s thriving! Her ceramic sculptures, with their funky charm and vibrant characters, are a testament to her resilience and creativity.
Magdalena Suarez Frimkess asserts, “I’m a survivor.” From her childhood onwards, this term has encapsulated her life. No matter what tasks I face, I tackle them head-on. At 95 years old, I continue to persevere. For many decades, Suarez Frimkess labored diligently in the Venice studio she shared with her husband and artistic partner, Michael Frimkess, a skilled ceramicist, who is 89. However, over the past ten years, Venezuela-born Suarez Frimkess has not only endured but flourished as well.
As a gamer with a deep appreciation for art, I’ve always been fascinated by the vibrant and whimsical world of ceramic sculptures, especially those created by Suarez Frimkess. Her unique style has captivated me since I first stumbled upon her work at the Hammer Museum back in 2014. Now, I can hardly contain my excitement as I eagerly anticipate her long-awaited retrospective, The Finest Disregard, at LACMA from Aug. 18 to Jan. 5.
Suarez Frimkess poses, “Isn’t it long overdue?” with an energetic chuckle. “I’m still somewhat stunned, but I believe I earned it.” This isn’t surprising to others. For decades, their ceramics were the unsung heroes of the L.A. art scene. “My husband crafted the pots while I adorned them, and we hosted sales at our studio,” she reminisces. What used to sell for $25 or $50 now fetches five-figure sums at auction, with collectors such as Cindy Sherman and L.A.’s prominent art couple Shio Kusaka and Jonas Wood among them. They even donated several pieces to LACMA. Despite being revered as a matriarch by many Los Angeles ceramic artists, Suarez Frimkess doesn’t feel attached to any artistic community, nor does she believe L.A. impacts her art, despite residing in the city for six decades. Instead, her story echoes a Pablo Neruda poem, told through raw clay and vibrant glazes, tracing back to her childhood.
Born in Maturín, I eventually found myself in Caracas due to my mother’s need for tuberculosis treatment. Tragically, I lost her, and my father was at a loss as to what to do with me. He placed me in a Catholic orphanage where the nuns kindled my passion for painting. By the tender age of 14, I was already studying printmaking and painting at Venezuela’s finest art school. At 18, I embarked on a journey to Chile with an older companion, starting a family while also pursuing my artistic studies in the 1950s. In 1962, ‘Art in America’ hailed me as “the most daring sculptor working in Chile” for my innovative works that explored the human form using various materials such as plaster and pantyhose. Faced with a difficult choice, I decided to leave my family behind to chase my dreams in New York. It was there that I met Frimkess during a residency program. Two years later, we moved to Los Angeles together.
Even though many of her supposed “great works” were snapped up by fans soon after they hit the shelves, I’ve still been able to admire some incredible pieces at LACMA. There you’ll find tables, plates, bowls, and jars brimming with her quirky characters – the very inspirations that keep me going in my creative journey. As she puts it, “They help me survive.”
As a longtime reader and avid follower of entertainment news, I found myself eagerly awaiting the August 14 issue of The Hollywood Reporter magazine. This is a publication that I have grown to trust for its insightful articles and in-depth coverage of the industry. When I finally got my hands on the latest issue, I immediately flipped to the story that caught my eye – a fascinating piece that had been exclusively published in this esteemed magazine.
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2024-08-18 20:24