The Following Best Describes the Art Work of Ana Mendieta

Cuban American artist

Ana Mendieta
Mendieta in 1981
Born	(1948-11-xviii)November 18, 1948 Havana, Cuba
Died	September 8, 1985(1985-09-08) (aged 36) New York Urban center
Education	University of Iowa
Known for	Functioning art, sculpture, video fine art
Spouse(s)	Carl Andre ​ (k. 1985)​

Ana Mendieta (November 18, 1948 – September 8, 1985) was a Cuban-American performance creative person, sculptor, painter and video creative person who is best known for her "globe-body" artwork. Born in Havana, Mendieta left for the Us in 1961.

Early life and exile [edit]

Mendieta was born on November 18, 1948, in Havana, Republic of cuba,^[i] to a wealthy family prominent in the country'due south politics and society.^[two] Her begetter, Ignacio Alberto Mendieta de Lizáur, was an attorney and the nephew of Carlos Mendieta, who was installed as president past Fulgencio Batista for simply under two years. Her mother, Raquel Oti de Rojas, was a chemist, a researcher, and the granddaughter of Carlos Maria de Rojas, a carbohydrate mill owner historic for his function in the state of war against Spain for Cuban independence.^{[three] [4] [5]} Ana, aged 12, and her fifteen-twelvemonth-old sister Raquelin were sent to the United states of america by their parents to live in Dubuque, Iowa^{[half dozen]} through Operation Peter Pan, a collaborative plan, run by the US government and the Catholic Charities, for Cuban children to flee Fidel Castro's dictatorship.^[seven] Ana and Raquelin were amongst 14,000 children who immigrated to the United States through this program in 1961. Mendieta's showtime two years in the United States consisted of constant alternation between foster homes and orphanages. The sisters were able to stay together during this fourth dimension due to a power of chaser signed by their parents, which mandated that they non be separated.^[8] The two sisters spent their first weeks in refugee camps, and then moved between several institutions and foster homes throughout Iowa.^[1] In 1966, Mendieta was reunited with her female parent and younger blood brother. Her begetter joined them in 1979, having spent 18 years in a political prison house in Cuba for his interest in the Bay of Pigs invasion.^[1]

Education [edit]

In Cuba, Mendieta grew up every bit a sheltered, upper-class child. She attended an all-girls Catholic individual school. When she and her sis were sent to Iowa, they were enrolled in a reform school because the court wanted to avoid sending them to a state institution.^[nine] When Mendieta studied English in school, her vocabulary was very express. In junior high school, she discovered a beloved for art.^[8] Mendieta was offset a French major and art modest, but when she transferred to the University of Iowa, she was inspired by the advanced community and the hills of Iowa'south landscape.^[10] She earned a BA (enrolled 1969–1972) and MA in painting, and an MFA (enrolled 1972–1977) in Intermedia under the education of acclaimed artist Hans Breder.^[eleven] In college, Mendieta's piece of work focused on blood and violence toward women. Her interest in spiritualism, religion, and archaic rituals developed during this fourth dimension.^[12] She said that she faced a great bargain of discrimination in art school. After graduate school, she moved to New York City.^[eight]

Work [edit]

In the course of her career, Mendieta created piece of work in Cuba, Mexico, Italy, and the United States.^[11] Her work was somewhat autobiographical, drawing from her history of beingness displaced from her native Republic of cuba, and focused on themes including feminism, violence, life, decease, identity, place and belonging. Her works are generally associated with the four basic elements of nature. Mendieta often focused on a spiritual and concrete connection with the Globe. She felt that by uniting her body with the earth she could go whole over again: "Through my earth/body sculptures, I become ane with the earth ... I become an extension of nature and nature becomes an extension of my body. This obsessive human activity of reasserting my ties with the globe is really the reactivation of earliest beliefs ... [in] an omnipresent female strength, the after paradigm of existence encompassing within the womb, is a manifestation of my thirst for being."^[13] During her lifetime, Mendieta produced over 200 works of art using earth as a sculptural medium.^[14] Her techniques were mainly influenced past Afro-Cuban traditions.^[xv]

Rape Scene 1973 Moffit Street, Iowa City, Iowa [edit]

In 1973, Mendieta performed Rape Scene which commented on the rape and murder of a fellow pupil that had occurred on the Iowa University campus by some other student.^[16] In the performance Mendieta invited friends and other students to visit her in her Moffit Street apartment.^[17]  Upon arriving at her apartment, viewers were confronted with the image of Mendieta, naked from the waist down, smeared with blood, bent over, and leap to a tabular array.^[18]  The piece of work reflects Mendieta's emotional reaction to the occurrence of sexual assail on the university campus.^[19]

Membership in Artists In Residence Inc [edit]

In 1978, Ana Mendieta joined the Artists In Residence Inc (A.I.R. Gallery) in New York, which was the kickoff gallery for women to be established in the Us. The venture gave her the opportunity to network with other women artists at the forefront of the era'due south feminist motility.^[20] During that time, Mendieta was also actively involved in the administration and maintenance of the A.I.R. In an unpublished statement, she noted, "Information technology is crucial for me to exist a part of all my art works. As a event of my participation, my vision becomes a reality and office of my experiences."^[twenty] At the same time, after ii years of involvement with A.I.R. she concluded that "American Feminism equally it stands is basically a white centre class movement," and she sought to challenge the limits of this perspective through her art.^[21] She met her future husband Carl Andre at the gallery, when he served on a panel titled "How has women's art practices affected male creative person social attitudes?"^[22] Her resignation in 1982 is attributed, in part, to a dispute instigated by Andre over a collaborative fine art piece the couple had submitted. In a 2001 periodical commodity, Kat Griefen, managing director of A.I.R from 2006 to 2011,^[23] wrote,

The letter of resignation did not cite whatsoever reasons for her departure, just a number of fellow A.I.R. artists recall the related events. For a recent benefit Mendieta and Carl Andre had donated a collaborative piece. As was the policy, all works needed to be delivered by the artist. Edelson recalls that Andre took offense, instigating a disagreement, which, in part, led to Mendieta'due south resignation. Even without this incident, co-ordinate to another member, Pat Lasch, Mendieta's clan with the at present legendary Andre surely played some function in her conclusion.^[20]

In 1983, Mendieta was awarded the Rome Prize by the American University in Rome. While in residence in Rome, Mendieta began creating art "objects," including drawings and sculptures.^[24] She continued to use natural elements in her work.^[25]

Silueta Series (1973–1980) [edit]

The Silueta Series (1973–1980) involved Mendieta creating female silhouettes in nature—in mud, sand, and grass—with natural materials ranging from leaves and twigs to blood, and making body prints or painting her outline or silhouette onto a wall.^[26]

In a 1981 artist statement, Mendieta said:

I have been carrying out a dialogue between the landscape and the female trunk (based on my own silhouette). I believe this has been a direct event of my having been torn from my homeland (Republic of cuba) during my adolescence. I am overwhelmed by the feeling of having been cast from the womb (nature). My art is the mode I re-establish the bonds that unite me to the universe. It is a render to the maternal source.^[27]

When she began her Silueta Serial in the 1970s, Mendieta was ane of many artists experimenting with the emerging genres of state art, body art, and functioning art. The films and photographs of Siluetas are in connection with the figures surrounding her body. Mendieta was possibly the starting time to combine these genres in what she called "earth-body" sculptures.^[28] She frequently used her naked body to explore and connect with the Earth, as seen in her slice Imagen de Yagul, from the serial Silueta Works in Mexico 1973–1977.^[29] Mendieta's first use of blood to make art dates from 1972, when she performed Untitled (Death of a Chicken), for which she stood naked in front of a white wall property a freshly decapitated chicken by its feet as its claret spattered her naked body.^[thirty] Appalled by the brutal rape and murder of nursing student Sarah Ann Ottens at the University of Iowa, Mendieta smeared herself with blood and had herself tied to a table in 1973, inviting an audition in to bear witness in Untitled (Rape Scene).^{[31] [32]} Professor and art historian Kaira Cabañas writes most Untitled (Rape Scene):

Her body was the subject field and object of the piece of work. She used it to emphasize the societal conditions by which the female body is colonized as the object of male desire and ravaged under masculine aggression. Mendieta's corporeal presence demanded the recognition of a female subject. The previously invisible, unnamed victim of rape gained an identity. The audience was forced to reflect on its responsibility; its empathy was elicited and translated to the space of sensation in which sexual violence could exist addressed.^[6]

In a slide serial, People Looking at Blood Moffitt (1973), she pours blood and rags on a sidewalk and photographs a seemingly endless stream of people walking past without stopping, until the man side by side door (the storefront window bears the name H.F. Moffitt) comes out to clean it upwards.^[32]

Mendieta likewise created the female person silhouette using nature every bit both her canvas and her medium. She used her trunk to create silhouettes in the grass; she created silhouettes in sand and clay; she created silhouettes of burn down and filmed them called-for. Untitled (Ochún) (1981), named for the Santería goddess of waters, once pointed southward from the shore at Key Biscayne, Florida. Ñañigo Burial (1976), with a title taken from the pop name for an Afro-Cuban religious brotherhood, is a floor installation of black candles dripping wax in the outline of the creative person's trunk.^[2] Through these works, which cross the boundaries of functioning, film, and photography, Mendieta explored her human relationship with a place as well as a larger human relationship with mother Earth or the "Groovy Goddess" effigy.^[fourteen]

Mary Jane Jacob suggests in her exhibition itemize Ana Mendieta: The "Silueta" Series (1973–1980) that much of Mendieta's work was influenced by her interest in the organized religion Santería, too as a connection to Cuba. Jacob attributes Mendieta's "ritualistic use of blood," and the use of gunpowder, earth, and rock, to Santería's ritualistic traditions.^[33]

Jacob besides points out the significance of the mother effigy, referring to the Mayan deity Ix Chel, the mother of the gods.^[34] Many have interpreted Mendieta's recurring use of this female parent figure, and her own female silhouette, as feminist fine art. All the same, considering Mendieta's work explores many ideas including life, death, identity, and place all at in one case, information technology cannot be categorized every bit part of 1 idea or movement.^{[ commendation needed ]} Claire Raymond argues that the Silueta Series, as a photographic archive, should be read for its photographicity rather than merely as documentation of earthworks.^[35]

In Corazon de Roca con Sangre (Rock Heart with Blood) (1975) Mendieta kneels next to an impression of her trunk that has been cut into the soft muddied riverbank.^[x]

Photo etchings of the Rupestrian Sculptures (1981) [edit]

As documented in the book Ana Mendieta: A Book of Works, edited by Bonnie Clearwater, earlier her death, Mendieta was working on a series of photograph-etchings of cave sculptures she had created at Escaleras de Jaruco, Jaruco State Park in Havana, Cuba.^[36] Her sculptures were entitled Rupestrian Sculptures (1981)—the title refers to living among rocks^[37]—and the book of photographic etchings that Mendieta created to preserve these sculptures is a testament to the intertextuality of her work. Clearwater explains that the photographs of Mendieta's sculptures were often every bit important every bit the piece they were documenting because the nature of Mendieta's work was and so impermanent. She spent as much fourth dimension and thought on the cosmos of the photographs equally she did on the sculptures themselves.^[36]

Mendieta returned to Havana, the place of her nascence, for this project, but she was still exploring her sense of deportation and loss, co-ordinate to Clearwater.^[38] The Rupestrian Sculptures that Mendieta created were also influenced past the Taíno people, "native inhabitants of the pre-Hispanic Antilles," whom Mendieta became fascinated by and studied.^[39]

Mendieta had completed five photograph-etchings of the Rupestrian Sculptures before she died in 1985. The volume Ana Mendieta: A Book of Works, published in 1993, contains both photographs of the sculptures and Mendieta's notes on the project.^[forty]

Body Tracks (1982) [edit]

Trunk Tracks (Rastros Corporales) debuted on April 8, 1982, in Franklin Furnace in New York Urban center.^[41] The tracks are long, blurry marks fabricated by Mendieta on a large slice of white paper attached to a wall. While recordings of the sacred music of Afro-Cuban Santeria were heard,^{[half dozen]} Mendieta dipped her easily and forearms into a mixture of tempera paint and beast blood, pressed her hands and arms firmly to the newspaper'due south surface, and slid downward towards the flooring.^{[41] [42]}

The performance was documented in the 1987 picture show Ana Mendieta: Fuego de Tierra,^[43] and described past scholar Alexandra Gonzenbach:

In the short piece, the artist enters the studio space, while Cuban music plays in the groundwork. She dips her hands and forearms into animal claret, places her back to the photographic camera, lifts her artillery and places them on a large sail of white newspaper fastened to a wall, and so proceeds to slowly elevate her arms down the page, until near reaching the lesser. She then walks off screen and out of the operation infinite. The photographic camera, documentation, and operation stops.^[44]

The resultant pieces of paper were preserved by the creative person after the event, and appear now as works of art in their own right in the collection of the Rose Art Museum at Brandeis University.^[41] A still photo from the exhibit was the cover art of the Third Adult female Press edition of the feminist anthology This Bridge Called My Back: Writings by Radical Women of Color (2002, ISBN 0943219221)

Moving-picture show works (1971–1980) [edit]

In the 1970s Mendieta made number of experimental films. These include:

• Creek (1974) ^[45]
  • This pic builds on the Shakespearean graphic symbol of Ophelia. Information technology was shot in San Felipe Creek, Oaxaca, Mexico. In the pic, Mendieta merges with the h2o.^[46]
• Ochún (1981) ^[45]
  • Mendieta filmed Ochun in Primal Biscayne, Florida. Information technology is nearly the Santería goddess, Ochún -- the Orisha of the river. It features sand silhouettes, seagull sounds, and body of water waves, and emphasizes themes of longing for another state. It was her last film.^[46]
• Chicken Moving-picture show, Chicken Slice (1972)
• Parachute (1973)
• Moffitt Building Piece (1973)
• Grass Animate (1974)
• Dog (1974)
• Mirage (1974)
• Weather Airship, Feathered Airship (1974)
• Silueta Sangrienta (1975)
• Energy Charge (1975) ^[45]

In 2016 a traveling exhibition of her movie work was mounted by the Katherine Eastward. Nash Gallery of the University of Minnesota with the title Covered in Time and History: The Films of Ana Mendieta.^[47]

Film works released posthumously (1985–present) [edit]

The Estate of Ana Mendieta Collection, LLC, and family members plant several films after her death while looking for work to be included in a retrospective at the New Museum in 1987. In 2016, more films were uncovered and digitized in apprehension of a documentary directed by the artist's niece, Raquel Cecilia Mendieta.^[48]

• Pain of Cuba/Body I Am (2018)
• The Globe That Covers Us Speaks (2018)

Exhibitions and collections [edit]

Mendieta presented a solo exhibition of her photographs at A.I.R. Gallery in New York in 1979.^[1] She as well curated and wrote the introductory itemize essay for an exhibition at A.I.R. in 1981 entitled Dialectics of Isolation: An Exhibition of Third World Women Artists of the Usa, which featured the work of artists such as Judy Baca, Senga Nengudi, Howardena Pindell, and Zarina.^[49] The New Museum of Contemporary Art in New York hosted Mendieta's first survey exhibition in 1987. Since her death, Mendieta has been recognized with international solo museum retrospectives such as Ana Mendieta, Fine art Institute of Chicago (2011); and Ana Mendieta in Context: Public and Individual Work, De La Cruz Collection, Miami (2012).^{[ citation needed ]} In 2004 the Hirshhorn Museum and Sculpture Garden in Washington, D.C., organized World Body, Sculpture and Performance, a major retrospective that traveled to the Whitney Museum of American Art, New York, Des Moines Fine art Middle, Iowa, and Miami Fine art Museum, Florida (2004).^[ane]

In 2017 her work was presented in the retrospective solo show Ana Mendieta / Covered in Fourth dimension and History at Bildmuseet, Umeå Academy, Sweden. ^[50]

Mendieta'southward piece of work features in many major public collections, including the Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Whitney Museum of American Art, and Museum of Modern Art in New York; the Art Constitute of Chicago; Centre Pompidou, Paris; Musée d'Art Moderne et Contemporain, Geneva; Tate Drove, London;^[51] and the Nasher Sculpture Heart.^{[52] [53]}

Death and controversy [edit]

Ana Mendieta died on September 8, 1985, in New York City, afterward falling from her 34th-flooring apartment in Greenwich Hamlet at 300 Mercer Street. She lived there with her husband of eight months, minimalist sculptor Carl Andre, who may have pushed her out the window.^[54] She savage 33 stories onto the roof of a deli.^[55] Simply prior to her death, neighbors heard the couple arguing violently.^[37] The neighbors heard Mendieta scream out no and right before her death Andre had scratches all over his face. ^[56] There were no eyewitnesses to the events that led upward to Mendieta's death.^[57] A recording of Andre'due south 911 call showed him maxim: "My wife is an artist, and I'm an artist, and we had a quarrel almost the fact that I was more than, eh, exposed to the public than she was. And she went to the chamber, and I went later her, and she went out the window."^[58] In 1988, Andre was tried for her murder and acquitted for 2d caste murder.^[59] During three years of legal proceedings,^[57] Andre's lawyer described Mendieta's decease as a possible accident or suicide. The gauge found Andre not guilty on grounds of reasonable doubt.^[58]

The acquittal caused an uproar amid feminists in the art world, and remains controversial to this day. In 2010, a symposium chosen Where Is Ana Mendieta? was held at New York University to commemorate the 25th anniversary of her death.^[sixty] In May 2014, the feminist protestation grouping No Wave Performance Task Force staged a protestation in front end of the Dia Art Foundation's retrospective on Carl Andre.^[61] The group deposited piles of animal blood and guts in front of the establishment, with protesters donning transparent tracksuits with "I Wish Ana Mendieta Was Still Alive" written on them. In March 2015, the No Moving ridge Functioning Task Force and a group of feminist poets from New York Metropolis traveled to Beacon, New York, to protest the Andre retrospective at Dia:Beacon, where they cried loudly in the principal gallery, made "siluetas" in the snow on museum grounds, and stained the snow with paprika, sprinkles, and fake claret.^[62] In April 2017, protesters at an Andre retrospective handed out cards at the Geffen Contemporary museum with the argument: "Carl Andre is at MOCA Geffen. ¿Dónde está Ana Mendieta?" (Where is Ana Mendieta?). This was followed by an open letter to Museum of Contemporary Art (MOCA) Managing director Philippe Vergne protesting the showroom, from the group the Association of Hysteric Curators.^[63]

Legacy [edit]

Mendieta's decease in 1985 came to define her legacy which overshadowed the pioneering of her art. In 2009, Mendieta was awarded a Lifetime Achievement Accolade by the Cintas Foundation.^[1] In 2018, The New York Times published a belated obituary for her that began, "Mendieta's fine art, sometimes violent, often unapologetically feminist and normally raw, left an indelible mark before her life was cut brusk."^[64] In 2010 she was the subject area of Richard Move'south controversial Where is Ana Mendieta? 25 Years Afterwards - An Exhibition and Symposium, which included his film, BloodWork - The Ana Mendieta Story.

See also [edit]

• Ecofeminist art
• Environmental art
• Feminist fine art move in the United States
• Land art
• List of unsolved deaths
• Performance fine art

References [edit]

1. ^ ^{a b c d e f} Ana Mendieta Archived April 15, 2013, at annal.today Solomon R. Guggenheim Museum, New York.
2. ^ ^{a b} Camhi, Leslie (June 20, 2004). "Fine art; Her Body, Herself". The New York Times. ISSN 0362-4331. Retrieved May 22, 2019.
3. ^ Rauch, Heidi; Suro, Federico (September 1, 1992). "Ana Mendieta'south primal scream". Americas . Retrieved October 3, 2020.
4. ^ Roulet, Laura. "Esculturas Rupestres and other Works by Ana Mendieta." Cuba, edited by Alan Due west-Durán, vol. 1, Charles Scribner'south Sons, 2012, pp. 270–274. Scribner Earth Scholar Series. Gale Ebooks, https://link.gale.com/apps/dr./CX1500500086/GVRL?u=cuny_laguardia&sid=GVRL&xid=492e563e. Retrieved December half dozen, 2019.
5. ^ Katz, Robert (1990). Naked past the Window: The Fatal Wedlock of Carl Andre and Ana Mendieta. Atlantic Monthly Press. ISBN9780871133540. Ana'southward grandparents were very well known in Matanzas. Her gramps was a dr., and he had a private clinic there. Her grandmother was the president of the Descendants of the Veterans of the 1895 State of war of Independence, and on patriotic holidays Ana always marched in the parade to Puerto Rojas, a fort named after her great-grandad, Carlos Maria de Rojas, who was a full general in that war. General Rojas was revered in all of Cuba because when he was ordered to fire the saccharide mills controlled by the Spanish troops, he burned his own mill, too, destroying all his wealth to salve his country. At that place were many heroes in Ana'south family unit, and corking-grandad Carlos was a disciple of Longfellow who had studied at Harvard, helping the bard practice his Spanish at teatime.
6. ^ ^{a b c} Cabañas, Kaira (1999). "Ana Mendieta: "Pain of Republic of cuba, Trunk I Am"". Adult female's Fine art Journal. 20 (ane): 12–17. doi:10.2307/1358840. JSTOR 1358840.
7. ^ "Ana Mendieta Biography, Life & Quotes". The Art Story . Retrieved October 7, 2021.
8. ^ ^{a b c} Frank, Priscilla (March 7, 2016). "The Life Of Forgotten Feminist Artist Ana Mendieta, As Told By Her Sister". HuffPost . Retrieved March 11, 2017.
9. ^ O'Hagan, Sean (September 21, 2013). "Ana Mendieta: expiry of an artist foretold in claret | Art and pattern". The Guardian . Retrieved October ane, 2018.
10. ^ ^{a b} "Ana Mendieta: Earth Body, Sculpture and Functioning". The Brooklyn Rails. September 2004. Retrieved March 11, 2017.
11. ^ ^{a b} Viso, Olga (2004). Ana Mendieta: Earth Trunk . Ostfildern-Ruit: Hatje Cantz Publishers.
12. ^ Blocker, Jane (1999). Where Is Ana Mendieta?: Identity, Performativity, and Exile. Durham, NC: Duke University Press. ISBN0822323044.
13. ^ Ramos, E. Carmen (2014). our america. Smithsonian American Art Museum, Washington, DC. ISBN9781907804441.
14. ^ ^{a b} Blocker, Jane. Where Is Ana Mendieta?: Identity, Performativity, and Exile. Duke University Press, May 1999. p. 47–48.
15. ^ Manzor, Lillian. "Performing Arts: Performance Art." Cuba, edited by Alan W-Durán, vol. 2, Charles Scribner's Sons, 2012, pp. 732–735. Scribner World Scholar Series. Gale Ebooks, https://link.gale.com/apps/md/CX1500500224/GVRL?u=cuny_laguardia&sid=GVRL&xid=c061db2b. Retrieved December 6, 2019.
    
16. ^ Art and feminism. Helena Reckitt, Peggy Phelan. London: Phaidon. 2001. ISBN0-7148-3529-iii. OCLC 48098625. {{cite book}}: CS1 maint: others (link)
17. ^ Fine art and feminism. Helena Reckitt, Peggy Phelan. London: Phaidon. 2001. ISBN0-7148-3529-iii. OCLC 48098625. {{cite book}}: CS1 maint: others (link)
18. ^ Art and feminism. Helena Reckitt, Peggy Phelan. London: Phaidon. 2001. ISBN0-7148-3529-three. OCLC 48098625. {{cite book}}: CS1 maint: others (link)
19. ^ Art and feminism. Helena Reckitt, Peggy Phelan. London: Phaidon. 2001. ISBN0-7148-3529-three. OCLC 48098625. {{cite book}}: CS1 maint: others (link)
20. ^ ^{a b c} Griefen, Kat (2011). "Ana Mendieta at A.I.R. Gallery, 1977–82". Women & Performance. 21 (2): 171–181. doi:10.1080/0740770X.2011.607595. S2CID 194088994.
21. ^ Butler Schwartz, Cornelia Alexandra (2010). Modern Women: Women Artists at the Museum of Modern Art. New York: The Museum of Modern Art. p. 389.
22. ^ Sneed, Gillian (October 12, 2010). "The Example of Ana Mendieta". Art in America. Retrieved February 12, 2015.
23. ^ "Our Members – Kat Griefen « AWAD – Association of Women Art Dealers". Archived from the original on March thirteen, 2017. Retrieved May 22, 2019.
24. ^ Sabbatino, Mary (2011). Ana Mendieta: Blood & Fire. New York: Galerie Lelong. p. 73. ISBN978-2868820976.
25. ^ Ana Mendieta : world body : sculpture and performance, 1972-1985 (1st ed.). Hirshhorn Museum and Sculpture Garden, Smithsonian Establishment. 2004. pp. 181, 237. ISBN3775713956.
26. ^ Perry, Gill (2003). "The expanding field: Ana Mendieta's Silueta series". Frameworks for Modern Art. New Haven: Yale University Press. pp. 153–201. ISBN0-300-10228-3.
27. ^ Manchester, Elizabeth (October 2009). "Untitled (Silueta Series, Mexico)". Tate Etc . Retrieved March 6, 2018.
28. ^ Jacob, Mary Jane. "Ana Mendieta: The "Silueta" Series, 1973–1980." Galerie Lelong, 1991. p. 3. "Creating her own way of body art and world art that she early on called globe-body sculptures" LCCN 91-077297.
29. ^ Perry, Gill (2003). Gaiger, Jason (ed.). The Expanding Field: Ana Mendieta's Silueta Series in Frameworks for Modernistic Art. London: Yale University Press. p. 172. ISBN9780300102284.
30. ^ Imagen de Yagul, from the series Silueta Works in Mexico 1973–1977. Archived October 16, 2015, at the Wayback Auto SF MoMA.
31. ^ Ana Mendieta, Untitled (Rape Scene) (1973) Tate Mod, London.
32. ^ ^{a b} Kay Larson(Feb 16, 2001), Vito Acconci and Ana Mendieta – 'A Human relationship Study, 1969–1976', The New York Times.
33. ^ Jacob, Mary Jane. "Ana Mendieta: The "Silueta" Series, 1973–1980." Galerie Lelong, 1991. pp. 4, x, 17. "[p. 4:] Santeria was a source of inspiration for Mendieta. More than any other cultural reference to which she turned, Santeria'southward precepts enabled her to create a conceptual framework for her fine art ... Information technology was a means through which she could too express her human relationship to Cuba, nature, and the spiritual realm ... [p. 14:] [In Santaria, blood] is a symbol of life ... Mendieta connected in 1973 the ritualistic employ of blood ... [p. 17:] Some of Mendieta's materials can also exist linked to Santeria. Gunpowder, which she had intuitively begun to use to burn her silhouette into the world, copse, or stone, is employed in Santeria rituals to make mystic basis drawings and summon the spirits."
34. ^ Jacob, Mary Jane. "Ana Mendieta: The "Silueta" Serial, 1973–1980." Galerie Lelong, 1991. p. 14. "In recapturing spirits close to her ain origins, Mendieta also turned to Ix Chel, a Mayan deity considered to exist Our Mother, the mother of the gods and the patron saint of women and goddess of childbirth."
35. ^ Raymond, Claire (April 21, 2017). Women Photographers and Feminist Aesthetics. doi:10.4324/9781315628912. ISBN9781315628912.
36. ^ ^{a b} Clearwater, Bonnie, ed. Ana Mendieta: A Volume of Works. Grassfield Press, November 1993. p. 11.
37. ^ ^{a b} William Wilson (February 18, 1998), Haunting Works From Cuban Exile Mendieta Los Angeles Times.
38. ^ Clearwater, Bonnie, ed. Ana Mendieta: A Volume of Works. Grassfield Press, Nov 1993. p. 18.
39. ^ Clearwater, Bonnie, ed. Ana Mendieta: A Book of Works. Grassfield Press, Nov 1993. p. 12.
40. ^ Clearwater, Bonnie, ed., Ana Mendieta: A Book of Works. Grassfield Press, Nov 1993. p. 20.
41. ^ ^{a b c} Walker, Joanna (2009). "The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta". Tate Papers, no. 11. ISSN 1753-9854. Retrieved June 4, 2020.
42. ^ Cathy Curtis (March twenty, 1989), Mendieta Exhibit Reveals Lush, Central Power Los Angeles Times.
43. ^ Nereyda Garcla-Ferraz, Kate Horsfield, and Branda Miller, dir. (1987). Ana Mendieta: Fuego de Tierra (DVD) (in English and Castilian). Women Make Movies. OCLC 1043357237. Lodge No. 99249.
44. ^ Gozenbach, Alexandra (2011). "Bleeding Borders: Abjection in the works of Ana Mendieta and Gina Pane". Letras Femeninas. 37 (1): 12–17.
45. ^ ^{a b c} "Mirage. The Films of Ana Mendieta – Harvard Pic Archive". library.harvard.edu . Retrieved May 22, 2019. ^{[ permanent expressionless link ]}
46. ^ ^{a b} Morrissey, Siobhan, Museum mounts commencement-ever full showroom of the works of Ana Mendieta [Miami Herald], March eighteen, 2016
47. ^ Randy Kennedy, "A Word With: Raquelin Mendieta". The New York Times, February 4, 2016.
48. ^ "Later on More Than thirty Years, Ana Mendieta's Films Are Digitized | BLOUIN ARTINFO". world wide web.blouinartinfo.com . Retrieved May 22, 2019.
49. ^ Lovelace, Carey. "Aloft in Mid A.I.R." A.I.R. Gallery. Archived from the original on May 12, 2013. Retrieved March 14, 2014.
50. ^ "Ana Mendieta: "Omsluten av tid och historia" på Bildmuseet i Umeå". Dagens Nyheter. June 21, 2017.
51. ^ Tate. "Ana Mendieta 1948–1985". Tate . Retrieved September thirty, 2021.
52. ^ "New Acquisitions: Four Works past Ana Mendieta November 8, 2016 - Feb 12, 2017 | Exhibition - Nasher Sculpture Center".
53. ^ "Collection Landing".
54. ^ Carl Swanson (April one, 2012), Maximum Outrage Over Minimalist Sculptor New York.
55. ^ Sean O'Hagan (September 21, 2013), Ana Mendieta: expiry of an creative person foretold in blood The Guardian.
56. ^ "Ana Mendieta Biography, Life & Quotes". The Art Story . Retrieved October seven, 2021.
57. ^ ^{a b} Vincent Patrick (June 10, 1990), A Death In The Art World The New York Times.
58. ^ ^{a b} Sullivan, Ron (Feb 12, 1988). "Greenwich Village Sculptor Acquitted of Pushing Wife to Her Death". The New York Times . Retrieved February 13, 2015.
59. ^ "Ana Mendieta Biography, Life & Quotes". The Art Story . Retrieved October seven, 2021.
60. ^ Sneed, Gillian (October 12, 2010). "The Case of Ana Mendieta". Art in America . Retrieved February 13, 2015.
61. ^ Steinhauer, Jill (May 20, 2014). "Artists Protest Carl Andre Retrospective With Claret Outside Dia: Chelsea". Hyperallergic. Retrieved Feb 13, 2015.
62. ^ Crawford, Marisa (March 10, 2015). "Crying for Ana Mendieta at the Carl Andre Retrospective". Hyperallergic.com.
63. ^ Miranda, Carolina (Apr six, 2017). "Why protesters at MOCA's Carl Andre show won't permit the fine art world forget about Ana Mendieta". Los Angeles Times . Retrieved March 28, 2018.
64. ^ "Disregarded No More: Ana Mendieta, a Cuban Artist Who Pushed Boundaries". The New York Times. September 19, 2018. Retrieved Oct 1, 2018.

Farther reading [edit]

• Best, Susan (2007). "The Series Spaces of Ana Mendieta". Art History. 30 (1): 57–82. doi:10.1111/j.1467-8365.2007.00532.x.
• Best, Susan, "Ana Mendieta: Impact Miniatiarizatin, Emotional Ties and the Silueta Series," Visualizing Feeling: Affect and the Feminine Avant-Garde (London: I B Tauris, 2011) 92–115 ISBN 9781780767093
• Del Valle-Cordero, Alejandro Javier (2014). "Ana Mendieta: Performance a la manera de los primitivos". Arte, Individuo y Sociedad. 26 (1): 67–82. doi:10.5209/rev_ARIS.2014.v26.n1.40564.
• Del Valle, Alejandro (2015). "Primitivism in the Art of Ana Mendieta". PhD. Universitat Pompeu Fabra. Retrieved July eight, 2017.
• Del Valle, Alejandro (2016). "Ana Mendieta and Fray Ramón Pané: a link between contemporary art and Castilian colonial literature". Laocoonte. Revista de Estética y Teoría de las Artes, 3, 101-120
• Del Valle, Alejandro (2018). "The influences of archaeological ruins of yagul on the fine art of Ana Mendieta". Arte, Individuo y Sociedad, xxx (1) 127-144
• "Ana Mendieta: Earth Body, Sculpture and Performance 1972–1985." Hirshhorn Museum and Sculpture Garden. Traditional Fine Arts System, Inc.
• Ana Mendieta: New Museum archive
• Cabañas, Kaira M. "Ana Mendieta: 'Pain of Republic of cuba, torso I Am.'" Woman'south Art Journal xx, no. 1 (1999): 12–17.
• Camhi, Leslie. "ART; Her Body, Herself". The New York Times 2004-06-20.
• Crawford, Marisa. "Crying for Ana Mendieta at the Carl Andre Retrospective." Hyperallergic. 2015
• Gopnik, Blake. "'Silueta' of A Woman: Sizing Up Ana Mendieta." The Washington Postal service p. N01. 2004-10-17.
• Heartney, Eleanor. "Rediscovering Ana Mendieta." Art in America 92, no. 10 (2004): 139–143.
• Howard, Christopher. "Ana Mendieta: Globe Body, Sculpture and Performance, 1972–1985." Art Volume 12, no. 2 (May 2005): 21–22. Art Full Text (H.W. Wilson), EBSCOhost (accessed November 29, 2014).
• Herrera, Gretel. Las huellas de Ana Mendieta. Fundación Cultural Enrique Loynaz, Santo Domingo. (Spanish)
• Katz, Robert. Naked by the Window: The Fatal Marriage of Carl Andre and Ana Mendieta. Atlantic Monthly Press, 1990.
• Kwon, Miwon. "Encarmine Valentines: Afterimages by Ana Mendieta." In: Catherine de Zegher (ed.), Within the Visible. The Institute of Contemporary Art, Boston & MIT Press, 1996.
• "Making Sense of Modern Fine art" The San Francisco Museum of Modern Fine art.
• Moure, Gloria et al. Ana Mendieta. Poligrafa, April 2, 2001.
• Oransky, Howard, Covered in Time and History: The Films of Ana Mendieta, University of California Press, 2015 ISBN 0520288017
• Patrick, Vincent. "A Death in the Art World." The New York Times 1990-06-10. p. 428.
• Perreault, John and Petra Barreras del Rio. Ana Mendieta: A Retrospective. The New Museum of Contemporary Fine art, New York, 1987.
• Raine, Anne. "Embodied Geographies: Subjectivity and Materiality in the Work of Ana Mendieta." In Feminist Approaches to Theory and Methodology: An Interdisciplinary Reader, edited by Sharlene Hesse-Biber, Christina Gilmartin, and Robin Lydenberg, 259–286. New York: Oxford University Printing, 1999.
• Rauch, Heidi, and Federico Suro. "Ana Mendieta'southward Central Scream." Américas 44, no.v (1992): 44–48.
• Szymanek, Angelique. "Encarmine Pleasures: Ana Mendieta's Tearing Tableaux," Signs: Journal of Women in Civilization and Society 41, no. 4 (Summer 2016): 895–925
• Viso, Olga. Ana Mendieta: Globe Trunk. Hatje Cantz in collaboration with the Hirshhorn Museum and Sculpture Garden, 2004.
• Viso, Olga. Unseen Mendieta: The Unpublished Works of Ana Mendieta. New York: Prestel, 2008.
• Walker, Joanna, "The body is nowadays fifty-fifty if in disguise: tracing the trace in the art piece of work of Nancy Spero and Ana Mendieta". Tate Papers, Leap 2009.
• Ana Mendieta Exhibition at Fundació Antoni Tàpies
• Redfern, Christine et al. Who is Ana Mendieta? Feminist Printing, 2011.

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Source: https://en.wikipedia.org/wiki/Ana_Mendieta

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