San Francisco Blog

“She was a powerful woman,” Valesquez said. “I just wanted to be a part of it.” But Velasquez's mother, Juanita, admitted that her daughter was a bit hesitant of the audition, possibly due to the competitive aspect of the event - 13 Fridas auditioned by the end of the first hour.

Having studied Frida’s work and history, the freshman from Berkeley City College came prepared and noted the artist’s two personas. “One was very manly, (with) thick hair and a tie that stood out in a crowd, or she was very feminine with flowers or animals on her dresses… She did what she wanted,” she said.

Like most others who auditioned, Valezquez was dressed in an oversized scarf with the iconic image of Frida over her shoulders and flowers in her hair.

“There’s something about the magic of Frida that you see in all these people showing up,” said Rene Yanez, founder of the Galeria de la Raza. “There’s some emotional attachment, I’m just hoping to pick the right person.”

In 1992, when Yanez held the first open audition for Frida look-a-likes, nearly 500 made appointments, from which he chose five. “It’s not so much about the look, but what they’re emanating,” he said, as to his criteria. “Putting out a feeling like creating a live painting. A magic.”

Not much has changed. From the people gathered, Yanez, the former curator for the exhibit in 1978, could still feel the emotion attached to the icon. He believes that the crowd was drawn from Frida’s presence and her posthumonous ability to connect on many levels -- with striving artists, those with health problems and the general women populace. When the artist’s original works were first displayed at the Galeria de la Raza in 1978, as part of Yanec’s exhibit of the Frida, hundreds waited outside. “She’s an inspiration,” he said. “It coincided with the feminist movement.”

Frida’s influence, the feminist ideals and iconic statements, were also visible in the connecting gallery beside the audition. Almost 150 traditional handbags made by Tigresa (a.k.a. Michelle Morineau and Colleen Flaherty) resonates with Frida’s Hispanic heritage, whereas Muertas and portraits of the artist herself -- “Frida Altar Kits” -- have been influenced by her trademark surreal and symbolic art. Lawrence Colacion used to make prints for punk posters before turning to Frida two decades ago. “It’s just redefining her image,” he said. “It’s commentary on her longevity.”

The Frida event took place at 17 alternative venues around San Francisco, a project that spiraled from SFMOMA’s exhibit of the artist, according to Audra Ponce, co-organizer and operations manager of Galeria de la Raza. “It’s paying homage to history,” she said.

“[Frida’s] a powerful female icon and there’s not that many,” Ponce said. “It’s important for women to own that icon.”

By the Way: Two auditions remain for the “Frida Casting Call,” but will be by appointment only at the SFMOMA on Aug. 16 at 1 p.m. To make an appointment send an e-mail -- bio and picture -- to Rene Yanez at rene@somarts.org