Mar 6
Ana Mendieta
Ana Mendieta, 'Imágen de Yágul,' 1973.
Ana Mendieta, 'On Giving Life,' 1975.
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Ana Mendieta
Ana Mendieta, 'Imágen de Yágul,' 1973.
Ana Mendieta, 'On Giving Life,' 1975.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Au moment d'apprendre la mort de Carl Andre (1935-2024), on ne peut pas ne pas penser Ă celle, tragique, d'Ana Mendieta (1948-1985).
Untitled (Guanaroca [First Woman]), Ana Mendieta, 1981/1994, Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art
Black and white photograph of carved cave Cueva del Aguila, Escaleras de Jaruco, Havana. © The Estate of Ana Mendieta Collection Courtesy Galerie Lelong, New York Size: 53 1/2 x 39 1/2 in. (135.9 x 100.3 cm) Medium: Gelatin silver photograph
https://www.brooklynmuseum.org/opencollection/objects/5032
Installing my major work from Fowlers Gap for our group exhibition: “Silueto 261”. Inspired by the “Silueto” series of #anamendieta, it is a classic example of making all the mistakes and getting something better than I’d imagined. Lol. “Ways of Seeing” opens tonight 1 December, 6.30-8.30pm at Comber Street Studios, Paddington and runs for a week. ... @unswada @unsw_fowlersgapstation @australia @australiagram @visitnsw @comberstreetstudios @ways_of_seeing_exhibition #MattiDoingArt #rustlord_unity #weareexplorers #travel #wanderlust #tv_australia #australiagram_mobile #exploringaustralia #igersaustralia #australianartist #artaustralia #instaartwork #instaartoftheday #fowlersgap2021 #fieldtrip #exhibition #outbackart #australianoutback #cyanotype #photography #bluesaturday #blue #rustlord_blue #cameralessphotography 25 (at Comber Street Studios) https://www.instagram.com/p/ClnfVTBrht6/?igshid=NGJjMDIxMWI=
Ana Mendieta (1948-1985)
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
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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#Herstory #UnDĂaComoHoy
#AnaMendieta (Cárdenas, 18/11/1948 – NY, 8/9/1985) #artista conceptual reconocida por sus obras de arte y performances en el marco del #LandArt. LlegĂł a USA como refugiada con 12 años y regresĂł a Cuba varias veces para recuperar sus raĂces. ViajĂł por MĂ©xico y Europa. MuriĂł a los 36 años, al caer desde el piso 34 de su apartamento, despuĂ©s de una discusiĂłn con su marido, el artista #CarlAndre, quien fue juzgado por asesinato y absuelto. La absoluciĂłn fue cuestionada por familia/amigos cuando fue juzgado por un juez y no por un jurado sin que el fiscal le interrogara. Grupos feministas del mundo del arte denuncian la #discriminaciĂłn que sufriĂł su caso ante la justicia por cuestiĂłn de raza y por ser refugiada frente a un artista "cuyo pasado violento es eclipsado sistemáticamente por su estatus y privilegio". TambiĂ©n denuncian que durante el juicio el arte de Mendieta se usĂł como "prueba" de una supuesta inestabilidad mental y no se consideraron testimonios incriminatorios claves. En 1992, el Guggenheim de NY inaugurĂł una galerĂa en el Soho donde se concentraron unas 500 manifestantes, muchas de ellas con pancartas que decĂan #WhereIsAnaMendieta #DĂłndeEstáAnaMendieta para protestar porque habĂan incluido una obra de Andre en la exposiciĂłn pero se habĂan olvidado de Mendieta 7 años despuĂ©s de su muerte. Desde entonces se han organizado varias acciones de protesta denunciando el intento de borrar a Mendieta del canon y de la historia de Carl Andre. CreĂł colecciones de trabajos con siluetas de su cuerpo creadas en barro, tierra, rocas, flores silvestres y hojas. ElaborĂł performances que evocaban las tradiciones populares como la práctica de santerĂa. En sus piezas usaba la sangre "como un elemento mágico y poderoso" que evocaba el poder de la sexualidad femenina y el horror de la violencia sexual masculina. En sus autorretratos distorsionaba sus rasgos en vidrio, se imaginaba goteando sangre o se disfrazada de hombre pegándose vello facial. Desde su muerte se han organizado numerosas retrospectivas de su obra. #efemĂ©rides #mujeresyarte #educarenigualdad #educarenfeminismo #schooloffeminism https://www.instagram.com/p/CiPYoxFDhCj/?igshid=NGJjMDIxMWI=
“Ho portato Avanti un dialogo tra il paesaggio e il corpo femminile. Essendo stata strappata dalla mia terra d’origine (Cuba) durante la mia adolescenza, mi sento sopraffatta dalla sensazione di essere stata scacciata dal grembo (della Natura).”
I have been carrying on a dialogue between the landscape and the female body. Having been torn from my homeland (Cuba) during my adolescence, I am overwhelmed by the feeling of having been cast out from the womb (Nature). – Ana Mendieta
As if looking for the womb she felt she was cast out of when she was twelve years old, Ana Mendieta has returned to female body as a form again and again in her work.
Born in 1948 in Havana, Cuba, Mendieta was sent to the United States by her parents in 1961 during a mass exodus of Cubans after Fidel Castro became Prime Minister and declared a socialist government.  She, along with her older sister, spent years moving among religious institutions and foster families in Iowa before being reunited with their mother in 1966. In Mendieta’s work, the earth and the female body, often her own, are united as one. Air, water, wind, fire, soil, sand, and trees become part of her, defining and covering all at once. Ana Mendieta was nature. There was no division between nature and self. She also said,
“Credo nell’acqua, nell’aria e nella terra. Sono tutte divinità .”
I believe in water, air and earth. They are all deities.
Image 1: Front cover
Image 2: “Untitled (Silueta Series), Senza titolo (Serie Silueta)”, 1976, Stampa postuma | Estate print 2001
Description: Page spread showing six photographs of the beach and ocean water. A female body form was made by digging into the sand. Photographs show different stages of the ocean water engaging with that form.
Image 3: “Untitled (Silueta Series), Senza titolo (Serie Silueta)”, 1977 (left) “Isla | Isola | Island”, 1979 (right)
Description: Page spread showing two photographs. Left image shows an impression of a female body shape on the sandy soil by the water. Right image shows a small island that resembles a shape of female body floating in the pond or lake.
Ana Mendieta : she got love Mendieta, Ana, 1948-1985 Milano, Italy: Skira, 2013. 246 pages: illustrations ; 25 cm. English and Italian Author/Creator Merz, Beatrice. Gambari, Olga. Bertola, Chiara. Castello di Rivoli (Museum : Rivoli, Italy) HOLLIS number: 990137925220203941
Plate (folio 20) from Pietre Foglie, Ana Mendieta, Carl Andre, 1984, MoMA: Drawings and Prints
Purchase Size: composition (irreg.): 11 15/16 Ă— 5 1/16" (30.3 Ă— 12.8 cm); page (each): 13 7/16 Ă— 9 5/8" (34.2 Ă— 24.5 cm) Medium: One from an illustrated book with twenty lithographs and four letterpress prints (including cover)
http://www.moma.org/collection/works/15594