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New doc ‘Hilma af Klint’ reclaims female artist’s place in history

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Hilma af Klint (Image courtesy Kino Lorber/Zeitgeist FIlms)

For most of the last century, art scholars generally credited Bauhaus artist Wassily Kandinsky with creating the first paintings of the abstract movement around 1911.

As it turns out, they were wrong – a Swedish artist named Hilma af Klint had quietly become the world’s first abstract artist five years earlier, before the term even existed, and by the time of Kandinsky’s first effort had already produced a considerable body of abstract work.

How did this important contribution to art history manage to go unnoticed by critics and historians for so many years? It’s not at all surprising, really – Hilma af Klint was a woman, and therefore, to the male-dominated art world of the early 20th century, irrelevant.

Now, her life and work is being explored in a new documentary from German director Halina Dyrschka. “Beyond the Visible – Hilma af Klint” introduces film audiences to a visionary trailblazing figure who, inspired by spiritualism, modern science, and the riches of the natural world around her, created a series of huge, colorful, sensual works that were without precedent in the world of painting.

According the the film’s official description, it’s a “course-correcting documentary” that not only covers the artist’s biographical details, but “investigates the role accorded to women in art history and reveals how and why Hilma af Klint was scandalously denied the status of a pioneer of modern art,” as it tells the story of how her art was “rediscovered” and unveiled to a modern audience that was ready to finally give her the recognition she deserved.

Director Dyrschka says the documentary – her first feature, though she has directed several shorts – was first sparked when she read a 2013 article about af Klimt, and was fascinated by the idea of such a monumental figure being obscured by history. A few months later, she went to an exhibition of the artist’s work, and she was hooked.

“I was standing in the middle of a hall surrounded by Hilma af Klint’s ‘Ten Largest, altogether 25 meters of paintings, 3.60 meters high,” she says. “And beyond the paintings – a whole world. But why have they been kept from me so long? I almost felt personally insulted when I read that this was a new discovery and the paintings have been hidden for decades.”

“The Swan No. 17” by Hilma af Klint (Image courtesy Stiftelsen Hilma af Klints Verk).

She started her research “immediately afterward,” she says, and was surprised by what she learned about the artist.

“Here was a woman who consequently followed her own path in life,” she says. “Despite all restrictions, Hilma af Klint explored the possibilities that go beyond the visible. She knew that she was doing something important not only for herself but for many people.”

“It is more than time to tell the untold heroine stories,” Dyrschka adds. “This is a film about a truly successful life – a woman who was not dependent of the opinion of others, and kept on going her very unique way of living and working.

“Hilma af Klint’s oeuvre goes even beyond art because she was looking for the whole picture of life,” the director concludes. “And with that she comes close to the one question: What are we doing here?”

“Beyond the Visible – Hilma af Klint” will premiere in the US with an April 10th opening in New York, with other cities to follow.

You can watch the trailer below.

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Books

A bisexual coming-of-age tale with heart

‘Things We Couldn’t Say’ offers pleasant surprises

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(Book cover image courtesy of Scholastic)

‘Things We Couldn’t Say’
By Jay Coles
c.2021, Scholastic $18.99/320 pages

You’d like an explanation, please.

Why something is done or not, why permission is denied, you’d like to hear a simple reason. You’ve been asking “Why?” since you were two years old but now the older you get, the more urgent is the need to know – although, in the new book “Things We Couldn’t Say” by Jay Coles, there could be a dozen becauses.

Sometimes, mostly when he didn’t need it to happen, Giovanni Zucker’s birth mother took over his thoughts.

It wasn’t as though she was the only thing he had to think about. Gio was an important part of the basketball team at Ben Davis High School; in fact, when he thought about college, he hoped for a basketball scholarship. He had classes to study for, two best friends he wanted to hang out with, a little brother who was his reason to get up in the morning, and a father who was always pushing for help at the church he ran. As for his romantic life, there wasn’t much to report: Gio dated girls and he’d dated guys and he was kinda feeling like he liked guys more.

So no, he didn’t want to think about his birth mother. The woman who walked out on the family when Gio was a little kid didn’t deserve his consideration at all. There was just no time for the first woman who broke his heart.

It was nice to have distractions from his thoughts. Gio’s best friends had his back. He knew pretty much everybody in his Indianapolis neighborhood. And the guy who moved across the street, a fellow b-baller named David, was becoming a good friend.

A very good friend. David was bisexual, too.

But just as their relationship was beginning, the unthinkable happened: Gio’s birth mother reached out, emailed him, wanted to meet with him, and he was torn. She said she had “reasons” for abandoning him all those years ago, and her truth was not what he’d imagined.

There are a lot of pleasant surprises inside “Things We Couldn’t Say.”

From the start, author Jay Coles gives his main character a great support system, and that’s a uniquely good thing. Gio enjoys the company of people who want the best for him, and it’s refreshing that even the ones who are villains do heroic things.

Everyone in this book, in fact, has heart, and that softens the drama that Coles adds – which leads to another nice surprise: there’s no overload of screeching drama here. Overwrought teen conflict is all but absent; even potential angsts that Gio might notice in his urban neighborhood are mentioned but not belabored. This helps keep readers focused on a fine, relatable, and very realistic coming-of-age story line.

This book is aimed at readers ages 12-and-up, but beware that there are a few gently explicit, but responsibly written, pages that might not be appropriate for kids in the lower target range. For older kids and adults, though, “Things We Couldn’t Say” offers plenty of reasons to love it.

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Music & Concerts

5 little questions for bounce queen Big Freedia

New tour comes to D.C. on Sept. 29

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Big Freedia plays D.C. next week. (Photo by kathclick via Bigstock)

There wasn’t much good news coming out of Katrina-ravaged New Orleans in 2005, but bounce music queen Big Freedia changed that narrative when she returned to the Big Easy to uplift community spirits with her high-energy stage performances. 

She was already well known in the area, having made a name for herself on the Crescent City club scene, and she was just starting to break out nationally. Fast forward a decade to 2016 and she was a full-fledged star featured on Beyoncé’s “Formation,” and Drake’s “Nice For What” in 2018. In 2021, after a lengthy hiatus due to the COVID-19 pandemic, Freedia is bigger than ever, with a current tour and a new album, “Big Diva Energy.” The D.C. stop on the tour is Sept. 29 at Lincoln Theatre; tickets available at ticketnetwork.com.

WASHINGTON BLADE: You have a penchant for purses. What’s a favorite in your own collection, and what’s one you can’t wait to get your hands on?

BIG FREEDIA: Michael Kors is one of my all time favorites, but I can’t wait to get my hands on the new Tory Burch tote that I ordered. It’s burgundy and I cannot wait for it to arrive!

 BLADE: You always have the wildest looks. Where does your style inspiration come from? What’s one place you love to source your pieces?

BIG FREEDIA: My looks are inspired by anything and everything I see. I can be at the grocery store, watching a movie, or touring in a new city and get ideas and style inspiration. My secret sourcing spot is on Melrose Avenue in L.A. I won’t tell you the name though; it’s my secret.

BLADE: You’re also a gun-violence activist. Your brother was killed a few years ago by gunfire, and you’ve been shot yourself. A documentary on the subject called “Freedia Got a Gun” – starring you – is available to stream on Peacock. Was this a cathartic project for you?

BIG FREEDIA: I haven’t the slightest idea how to solve the awful gun violence problem we have in America. I do believe in prevention though, and I know that mental health is a very important part of it for our Black and LGBTQ+ youth – all youth. If kids have hope and opportunities, a life of violence will be much less likely. I am very much an advocate of mental health services and support in our communities. 

BLADE: What do you have planned for your fans that have waited so long to see you on tour? 

BIG FREEDIA: A Big Freedia show is a big party, so they can expect an even bigger party since we’ve been in our homes. Extra energy, extra Bounce! All I can say is please BE VACCINATED if you come to a show and let us all celebrate safely. 

BLADE: Tell me all about your next album. Are there any fire collabs in the works?

BIG FREEDIA: I’m very excited about my new project. It’s called “Big Diva Energy.” I wanted this to be my album and reflect my voice, so I didn’t get collabs. My homegirl, Boyfriend, is on one track. We’ve worked a ton together this year, but she’s the only one.

Mikey Rox is an award-winning journalist and LGBTQ lifestyle expert whose work has been published in more than 100 outlets across the world. Connect with Mikey on Instagram @mikeyroxtravels.

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Movies

‘Cured’ beautifully chronicles fight for dignity

New doc revisits APA designation of homosexuality as a sickness

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Disguised as ‘Dr. H. Anonymous’ in an oversized tuxedo and distorted Nixon mask, Dr. John Fryer sent shock waves through the APA’s 1972 convention. (Photo by Kay Tobin; courtesy Manuscripts and Archives Division, The New York Public Library)

At the 1970 American Psychiatric Association convention, in front of 10,000 professional members, LGBTQ activists had a single rejoinder to decades of APA designation of homosexuality as a sickness in need of treatment: “There is no ‘cure’ for that which is not a disease.” It marked the first direct clash with a psychiatric profession that had classified homosexuality as a mental disorder and advised everything from talk therapy to psychologically destructive shock therapy to “cure” homosexuality. 

After Stonewall, gay activists concluded that the classification of homosexuality as a mental illness by the APA would hold back the advancement of the gay rights movement. To secure equality, activists knew they had to debunk the idea that they are sick. 

The struggle to remove homosexuality from the APA’s definition of mental illness is beautifully chronicled in the forthcoming documentary “Cured” — beautifully because the filmmakers contrast erroneous characterizations of homosexuality by mid-century psychiatrists with mid-century photographs that bore witness to gay people’s actual nature. 

Getting the APA to change required more than storming conferences. Gay activists, for instance, pinpointed sympathetic young psychiatrists who could act to reform the APA from within and helped them win seats on the Board of Trustees. Meanwhile, the culture was changing. In the 1970s, gay visibility was growing, which boosted the campaign to end the sickness label. 

At its 1972 convention, the APA offered a platform to gay rights activists Frank Kameny and Barbara Gittings. The duo invited Dr. John Fryer to testify about what it was like to be a gay psychiatrist. Fearing damage to his reputation (he had previously lost a position for being gay), Fryer donned a mask and adopted the title H. Anonymous. Despite his cloaked persona, his testimony was, in the words of one attendee, a “game-changer.” 

Fryer spoke as a gay man with “real flesh and blood stand[ing] up before this organization and ask[ing] to be listened to” and evoked the great emotional toll of being forced to live in the closet — “this is the greatest loss: our honest humanity.” The tide was turning but the intransigent faction needed a few more kicks. Representing a new generation of psychiatrists, Dr. Charles Silverstein would lay down the gauntlet: The APA could either continue to promote “undocumented theories that have unjustly harmed a great number of people” or accept the genuine science that being gay was no illness. At the next year’s convention, in a final clash between opposing sides, Gay Activist Alliance member Ronald Gold pointed out the absurdity that a medical practice predicated on making sick people well was making “gay people sick.” The APA ended its mental illness classification in 1974. 

“Cured” represents a growing awareness of the history of “curing” homosexuality. Netflix recently premiered “Pray Away” about the so-called “ex-gays” who promoted conversion therapy, the destructive practice by fundamentalist Christian quacks. The film “Boy Erased” (2018) took a similar sledgehammer to conversion therapy. 

Precisely because of the long-term ill-effects of stigmatizing gay consciousness, the LGBTQ community has in recent years targeted conversion therapy. Twenty states have banned conversion therapy for minors, and an additional five states have enacted partial bans. 

Although thoroughly discredited by medical professionals, including the APA, conversion therapy continues to harm thousands of youths each year. While “Cured” is instructive for LGBTQ activists combatting conversion therapy nationwide, it has an even more important lesson. 

“There isn’t anything wrong with them, so there can’t be anything wrong with me,” is how one gay man remembers feeling upon entering a gay bar, witnessing convivial gay men and realizing it was time to ditch his homophobic shrink and embrace himself. 

It struck a deep chord with me because I had a similar epiphany as a young man. Feeling my way around my sexuality as a grad student in New York, it all finally came together one night at a Greenwich bar as I sat across from two gay men and chatted about traveling and career ambitions. I am doing nothing wrong, I thought. It made no sense to be afraid of living my life as a gay man.

Our determination to live openly remains a potent inspiration for those still struggling with acceptance, and the strongest rebuke of those who would seek to erase us. 

“Cured” premieres on PBS on Oct. 11. 

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