Midlife Madonna 2020

Editor: Here we have Rose Freymuth-Frazier's oil painting, "Midlife Madonna" from 2020. The first thing that strikes me is how this work modernizes traditional portraiture, the kind we see in art history museums. How do you interpret this blending of old and new? Curator: It’s interesting you note that blend. The artist consciously plays with the historical weight of Madonna imagery, typically reserved for idealized depictions of motherhood and piety. However, this self-portrait subverts that tradition. What do you think the artist is communicating by presenting herself with curlers and holding a pet, rather than a child, in this iconic pose? Editor: I guess it speaks to contemporary womanhood? Maybe about rejecting idealized roles? I’m seeing humor, too. Curator: Precisely. And in doing so, it raises questions about who gets represented in art history, and how. Notice how the ‘everyday’ invades the 'sacred'. The contrast also reminds us that representation itself is never neutral; choices are always made about who is worthy of portrayal, and under what circumstances. Does this impact the viewers and the public's views on the artist and/or the sitter, regardless of identity and personality traits? Editor: That's a good point! By placing herself in this "Madonna" position, and disrupting this art-historical expectation, Rose Freymuth-Frazier, challenges us to consider the diverse realities of women's experiences, while making us reconsider institutionalized standards and imagery of social structures in history. I didn’t consider this! Curator: And by inserting her own image into the discussion, the artist confronts and negotiates what a "classic" subject can even be, considering both the politics of looking, and representing, within culture and the public reception. Editor: Thanks, it makes the self-portrait much more impactful than I initially perceived. Curator: Absolutely. The dialogue between tradition and lived experience can be a very powerful commentary on both.