In 1944, Frida Kahlo is at a crossroads, both in terms of her health and her career. In April of that year, with World War II dragging on, she writes to her gallerist—and former lover—Julien Levy. In this tender and personal letter, she moves from the logistical challenges of sending art across national borders during wartime, to describing her painful new steel corsets, to asking after her many friends in New York, where Levy lives. Unpacking this letter and exploring Kahlo’s words written in her own hand provides a new understanding of an artist who has become larger than life in the years since her death at age 47.
In this episode of Recording Artists: Intimate Addresses, host Tess Taylor highlights Kahlo’s vibrant personality, tracing how her artistic career developed alongside her long-running health struggles and her now-iconic style and persona. Anna Deavere Smith voices the letter. Photographer and poet Rachel Eliza Griffiths, whose work often addresses pain and the body, provides her artist’s insight while historian Circe Henestrosa, who co-curated the Kahlo exhibition Making Herself Up at the Victoria and Albert Museum in 2018, shares charming anecdotes and important details of Kahlo’s life.
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Frida Kahlo: Do You Think of Me Some Time?

Artists in their own words from the Getty Research Institute archives

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In this special live episode of Recording Artists, season two host Tess Taylor speaks with Getty Research Institute curator Pietro Rigolo about the making of the series, what she discovered through the letters, and artists’ stories and letters that didn’t make the cut. Author Maya Binyam joins them to bring the letters to life via dramatic readings. 
This program is co-presented with the Los Angeles Review of Books.
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Recording Artists Live

In 1975, Meret Oppenheim’s small painting Würgeengel, or Angel of Death, is included in a sprawling exhibition organized by famous curator Harald Szeemann. She had painted it over 40 years earlier, when she was only 16 years old. The only problem now is that the curator has totally misunderstood her artwork—and placed it in a sexist context in the show. Rather than meekly accept this, Oppenheim writes Szeemann a deeply personal letter. Across five pages, she details the challenges she faced as a young woman who didn’t want children and was trying to make it as an artist in a heavily male sphere. Writing at age 63, Oppenheim speaks to burgeoning feminist ideals after decades of fighting back against sexist stereotypes.
In this episode of Recording Artists: Intimate Addresses, you’ll hear Oppenheim’s little-told story: an artist best known for lining a teacup in fur but who never stopped innovating, who socialized with the Surrealists as a teenager and kept a pistol in her studio to fight Nazis, and who took up the feminist cause towards the end of her career. Anna Deavere Smith reads the letter. Curator Bice Curiger, Oppenheim’s biographer, shares stories of Oppenheim’s life while artist Barbara T. Smith provides insight into the challenges facing women artists, particularly in the mid-20th century.
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Meret Oppenheim: Femme Fatale Is an Insult

In the mid-1960s, Nam June Paik is living in a run-down studio in SoHo, struggling to make ends meet.  But even as he jokes about his ongoing battle against cockroaches, he is building his network, seeking out support for his artist friends, and always experimenting with form. Paik’s vibrant personality is on full display in a letter from this period to musician David Tudor. Partially typewritten, partially handwritten, and full of wild punctuation and inside jokes, the letter’s main purpose is to help find work for his friend, Japanese musician Takehisa Kosugi.
In this episode of Recording Artists: Intimate Addresses, you’ll meet the wildly charming artist whose theories on technology and our relationship to it remain eerily prescient today; the man who coined the phrase “electronic superhighway” and advocated for artists to be at the vanguard of using the newest tech; and the person who tirelessly looked out for his friends.  Host Tess Taylor unpacks some of Paik’s best-known artworks and traces his evolving thinking about art and tech. Anna Deavere Smith reads the letter. Korean American artist Sueyeun Juliette Lee and art historian and conservator Hanna Hölling help you make sense of Paik’s networks—both personal and electronic—and his legacy.
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Nam June Paik: I Don’t Want to Be Over Whelmed by Glory

On May 20, 1962, the morning after his first child is born, Benjamin Patterson writes a touching birth announcement to his own parents. The letter covers all the usual details—the baby’s weight and height, how the birth went, what the hospital is like—but its form is totally unique. Most of the letter is written in the voice of his newborn son, Ennis. Patterson, then a young, struggling musician and composer living as an American expat in Paris, shows off his creativity and experimental writing in this letter. He has been honing these skills making unusual musical scores for instruments, for paper, for bodies moving through a city.
In addition to marking a personal milestone, this moment coincides with a turning point in his career: four months after his son’s birth, Patterson will help launch the first festival of Fluxus, a loose collective of avant-garde artists. And shortly after that, he will move back to the US as he tries to find ways to support his family as an artist.
In this episode of Recording Artists: Intimate Addresses, you’ll trace Patterson’s move from classical bassist to Fluxus composer, and from his retirement from art at the height of his career to his return to music 20 years later. Host Tess Taylor unpacks the challenges Patterson faced as an artist, a father (the only parent featured this season), and a Black man in a largely white art world. Anna Deavere Smith reads the letter. Art historian julia elizabeth neal and musicologist, composer, and historian George Lewis contextualize the work, unusual career trajectory, and importance of this understudied artist.
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Benjamin Patterson: Full Moon, Warm, Silver Clouds

By 1956, M. C. Richards has earned a PhD in English, taught poetry at Black Mountain College, gotten married (and divorced) twice, dedicated herself to pottery, helped found an artists’ cooperative alongside creators like John Cage, and become deeply romantically involved with avant-garde musician David Tudor. Tudor is often on the road, but luckily Richards is an incredible letter-writer. In her notes to him, she plays with language and sends messages of love, all while keeping Tudor up to date on his business as a touring musician, which she often seems to be managing, and on life back home.
Although Richards is relatively unknown today, she was a key connector in a circle of some of the most impressive artists, dancers, and musicians of her day. Her letters paint a picture of a lively and magnetic artist. She would go on to write a groundbreaking book on her philosophy of craft that continues to deeply influence contemporary artists.
In this episode of Recording Artists: Intimate Addresses, host Tess Taylor illuminates this vibrant and underrecognized artist, highlighting the many ways in which she was a woman ahead of her time. Anna Deavere Smith voices the letter. Art historian Jenni Sorkin and potter and dancer Ashwini Bhat, both of whom have been inspired by Richards’ philosophies of craft and approach to life, share their insights into her life and work.
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Frida Kahlo: Do You Think of Me Some Time?

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