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Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985

 

(above: Untitled (Body Tracks), 1974, Lifetime color photograph, 10 x 8 inches (25.4 x 20.3 cm);.Copyright of The Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York, NY)

 

The Smithsonian's Hirshhorn Museum and Sculpture Garden, presents the most comprehensive survey to date of over 100 works by Cuban-born artist Ana Mendieta (1948-1985). "Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985," organized by the museum's deputy director Olga Viso, is on view at the Hirshhorn from October14 through January 2, 2005. The exhibition examines Mendieta's life and development as an artist.

"For decades, the life and art of Ana Mendieta have been a frequent source of intrigue and speculation as considerable debate about her untimely death has dominated public and critical discussion. As a result, the richness and complexity of her art, as well as its important legacy to contemporary culture, have not been fully acknowledged," said Viso. "This exhibition decidedly shifts the focus to Mendieta's life and significant production as an artist and places it in a broad international context as well as the social and artistic fabric of the 1970s and 1980s."

The exhibition traces the artist's development from the early performance-based works she made as a student at the University of Iowa, where she was grounded in the conceptual and body-oriented practices of the 1960s and 1970s, to the creation of independent sculptures and objects made with fragile, earthen materials in the early 1980s. The objects on view include photographs, drawings, sculptures and film documenting early performance works and time-based actions in nature. The works are drawn from numerous public and private collections in the United States and Europe, as well as from the Hirshhorn's own significant holdings of Mendieta's art, including many pieces rarely seen in public.

Rooted both in nature and in the body, Mendieta's art was influenced by issues of personal identity and femininity, and distinguished by the singular hybrid form she often created. Her earth-body works or "Silueta Series" (silhouette series)-sculptural interventions in the landscape wherein the artist inserted her naked figure (or its outline or contours) in a natural setting-fused aspects of conceptual, process, performance, body, feminist and land art. While contributing significantly to these varied dialogues, Mendieta's work does not fit neatly within any of the accepted terms used to describe artistic activity in the 1970s.

Embracing the ambitions of feminism, Mendieta quietly subverted the monumental gestures of male land artists such as Robert Smithson and Walter de Maria by working on and emphasizing the human scale in relation to the landscape. Critical of the exclusion of artists of diverse races and ethnicities from the art world, she also vehemently asserted her own transcultural identity. Borrowing freely from a variety of cultural traditions throughout the world, Mendieta frequently appropriated symbols and aspects of the ritual practices of ancient and indigenous cultures of the Americas, Africa and Europe. While denying all forms of boundaries, Mendieta's cipher-the naked female form that performs in the studio, merges with the landscape, is etched on a leaf or is burned into the soil or a tree trunk-remained at the center of her production.

Born in 1948 in Havana, Mendieta fled Castro's revolution as a 12-year-old and came to the United States in 1961 without her parents. Her personal and professional development was greatly informed by the painful experience of exile as well as the cross-fertilization of Caribbean and North American cultures. In 1980, she returned to the island of her birth, 18 years after her traumatic exile as an adolescent. Over the next three years, Mendieta made seven visits to Cuba, developing strong ties with a community of emerging artists and immersing herself in the island's rich Afro-Cuban traditions. She also served as an important conduit of information between the Cuban and North American art worlds. To this day, Ana Mendieta remains the only Cuban expatriate from the United States to have participated fully in Cuban national exhibitions.

While deeply rooted in her personal experience, Mendieta's art reveals a passionate desire to connect with a wider, collective human heritage. She sought to unravel the collective layers of individual and societal history and unmask the latent ethnic, cultural and gender biases in society, thereby fostering greater self-awareness and comprehension of the complex diversity of humanity. It is for this reason that her humble yet prolific production as an artist continues to be relevant today. The meaning of her work has particular resonance in a global society struggling to grasp the overwhelming points of correspondence and difference between individuals, nations and cultures.

The exhibition is accompanied by a fully illustrated, 288-page catalogue co-published by the Hirshhorn and Hatje Cantz Verlag in Ostfildern, Germany, and distributed by Distributed Art Publishers in New York. The publication is the most definitive monograph produced to date on the work of Ana Mendieta and contains biographical, analytical and interpretive essays by Olga Viso, curator of the exhibition; Chrissie Iles, curator of contemporary art, Whitney Museum of American Art; art historian Julia Herzberg; and art critic Guy Brett. Additionally, art historian Laura Roulet contributed an extensive chronology of the artist's life and career.

"Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985" is made possible by The Henry Luce Foundation; the Latino Initiatives Pool, administered by the Smithsonian Center for Latino Initiatives; The Andy Warhol Foundation for the Visual Arts; Bruce T. Halle Family Foundation; and The Judith Rothschild Foundation. Initial research was supported by Craig Robins and a Curatorial Research Fellowship from the Getty Grant Program. Additional support for the exhibition catalog was made possible through the generosity of Carlos and Rosa de la Cruz and Isabel and Ricardo Ernst.

Following its presentation at the Whitney Museum of American Art and at the Hirshhorn, the Mendieta exhibition continues its tour at the Des Moines Art Center (February 25-May 22, 2005) and the Miami Art Museum (October 2, 2005-January 15, 2006).

 

Wall text from the exhibition:

 

Surveying a period of more than a dozen years, this exhibition traces the brief yet proliÞc career of Ana Mendieta (1948­1985) from her early performance-based works made as a student in the Intermedia Program at the University of Iowa, where she was grounded in the conceptual and body-oriented practices of the 1960s and 1970s, to the creation of independent sculpture and objects in the early 1980s. Rooted in nature and in the body, Mendieta's art was informed by personal identity and femininity, and distinguished by its insistent hybridity. Her signature earth-body works known as the Silueta Series-sculptural interventions on the landscape that inserted her naked Þgure (or its silhouette or contours) into the natural landscape-fused aspects of Conceptual, process, performance, body, feminist, and land art. While contributing signiÞcantly to these varied approaches to artmaking of the 1970s, her work does not Þt neatly into any one of them.
 
Embracing the aims of feminism, Mendieta quietly subverted the monumental gestures of land art by working at a human scale in the landscape. Critical of the frequent exclusion of artists of diverse races and ethnicities from the mainstream art world, she vehemently asserted her own transnational identity, and borrowed freely from a variety of cultural traditions throughout the world, appropriating symbols and aspects of the ritual practices of ancient and indigenous cultures of the Americas, Africa, and Europe in her art. Throughout her career, Mendieta's cipher-the naked female form that performs in the studio, merges with the landscape, is etched on a leaf, or is burned into the soil or a tree trunk-remained Þrmly at the center of her production.
 
Born in Havana, Cuba, Mendieta and her sister came to the United States without their parents when the artist was twelve years old. Her personal and professional development was greatly informed by the painful experience of exile, as well as by the intersection of Caribbean and North American cultures. While deeply rooted in her personal experience, Mendieta's art reveals a passionate desire to connect with a wider, collective human heritage.

 

Exhibition Checklist:

 

NOTE TO THE READER

 
Titling
 
Many of Ana's Mendieta's artworks, particularly those created at the beginning of her career as a student at the Intermedia program at the University of Iowa, remain "untitled," as the artist did not resolve the majority for public presentation or publication. In many cases, descriptive titles have been included in parentheses as secondary notations. These are drawn from viable sources, including the artist's slide boxes, labels on film reels, or the artist's own statements or writings.
 
Titled works below reflect clear notations by the artist on artworks, lifetime publications, or other materials located in the Ana Mendieta Archives housed at Galerie Lelong, New York.
 
Translations for foreign language titles have been provided.
 
Lifetime vs. Estate Prints
 
Photographs produced during the artist's career, including those printed from original 35 mm slides, are identified as "lifetime" photographs. Works that were printed after her death, including revelatory student works and replacements for damaged originals, are "estate prints" and include the dates of reprinting.
 
Many of the artist's most well-known photographs from the Silueta Series are posthumous estate prints from portfolios made from the artist's original 35 mm slides in 1991. While there is documentary evidence that several of these works may have been printed during the artist's life, their locations remain unknown at this printing.
 
Multimedia Works
 
Works identified as 35 mm color slide sequences were projected on the wall in the final exhibition to reveal the time-based nature of Mendieta's art. This was a format for presentation Mendieta used in presentations to colleagues, a few exhibitions, and lecture audiences. The slides, as well as works produced in Super-8 film and video, have been transferred to DVD for ease of presentation in this exhibition.
 
Archival Materials
 
Several photographs from Mendieta's archive and objects she used as props or tools to execute Siluetas are also included in the checklist.
 
 
Bird Transformation, 1972
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Wadsworth Atheneum Museum of Art, Hartford, Connecticut
Contemporary Art Purchase Fund
(Whitney and Hirshhorn only)
 
 
Bird Transformation, 1972
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Private Collection, New York
 
 
Untitled (Death of a Chicken), 1972
Color photograph (estate print 2004)
20 x 13 1/4 in (50.8 x 33.7 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Facial Cosmetic Variations), 1972
Color photographs (estate prints 1997/2004)
20 x 13 1/4 in (50.8 x 33.7 cm) each
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Facial Hair Transplants), 1972
Color photographs (estate prints 1997)
13 1/14 x 20 in (33.7 x 50.8 cm) and 20 x 13 1/4 in (50.8 x 33.7 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Grass on Woman), 1972
Lifetime color photograph
8 x 10 in (20.3 x 25.4 cm)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution,
Washington, D.C., Gift of Raquelín Mendieta Family Trust in honor of
Olga Viso, 2003 03.27
 
 
Ana Mendieta
Untitled (Dainzú), 1973
Lifetime black and white photograph
8 x 10 in. (20.3 x 25.4 cm)
Collection Hans Breder
 
 
Imagen de Yagul (Image from Yagul), 1973
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Hans Breder
 
 
Sweating Blood, 1973
Super-8 color, silent film transferred to DVD
2 minutes 42 seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1973
Lifetime color photograph
9 1/4 in x 7 1/4 (23.5 x 18.4 cm)
Collection Hans Breder
 
 
Untitled (People Looking at Blood on Moffitt Street), 1973
35 mm color slides with light-box
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Rape Scene), 1973
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Self-Portrait with Blood), 1973
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1973-1980
Pencil on paper
5 3/4 x 3 5/8 in (14.6 x 9.2 cm)
Collection Javier and M_nica G. Mora
 
 
Untitled (Blood and Feathers), 1974
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled (Blood and Feathers #2), 1974
Super-8 color, silent film transferred to DVD
3 minutes 2 seconds
The Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Blood Sign #2/Body Tracks), 1974
Super-8 color, silent film transferred to DVD
1 minute 10 seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Body Tracks), 1974
Lifetime color photographs
10 x 8 in (25.4 x 20.3 cm)
Collection Carlos and Rosa de la Cruz
 
 
Untitled (Body Tracks), 1974
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Creek), 1974
Super-8 color, silent film transferred to DVD
3 minutes 30 seconds
Estate of Ana Mendieta Collection courtesy Galerie Lelong, New York
 
 
Untitled (Silueta Series, Mexico), 1974
Color photograph (estate print 1991)
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Ricardo and Isabel Ernst, Washington, D.C.
 
 
Álma Silueta en Fuego (Soul Silhouette on Fire), 1975
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Collection Dillon Cohen
 
 
Álma Silueta en Fuego (Soul Silhouette on Fire), 1975
Super-8 color, silent film transferred to DVD
3 minutes 7 seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Corazón de Roca con Sangre (Rock Heart with Blood), 1975
Super-8 color, silent film transferred to DVD
3 minutes 3 seconds
Estate of Ana Mendieta Collection courtesy Galerie Lelong, New York
 
 
Silueta de Cenizas (Ash Silhouette), 1975
Also known as Alma Silueta en Fuego (Soul Silhouete on Fire), 1975
Lifetime color photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Flower Person), 1975
Lifetime color photograph
8 x 10 in (20.3 x 25.4 cm)
Collection Melva Bucksbaum and Raymond Learsy
 
 
Untitled (Flower Person), 1975
Super-8 color, silent film transferred to DVD
6 minutes 7 1/2seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
(Whitney only)
 
 
Untitled (Genesis Buried in Mud), 1975
Super-8 color, silent film transferred to DVD
4 minutes
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Ánima, Silueta de Cohetes (Soul, Silhouette of Fireworks), 1976
Super-8 color, silent film transferred to DVD
2 minutes 23 seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Armature for Ánima, Silueta de Cohetes (Soul, Silhouette of Fireworks), 1976
Wood, string, and extinguished fireworks
70 x 35 x 1 in (177.8 x 88.9 x 2.5 cm)
Collection Raquelín Mendieta Family Trust
 
 
Ñañigo Burial, 1976
47 black ritual candles
60 x 40 1/2in (unburned candles are 9 in high)
(152.4 x 102.9 cm, 22.9 cm high)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
Untitled (Silueta Series, Mexico), 1976
Color photograph (estate print 1991)
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Ricardo and Isabel Ernst, Washington, D.C.
 
 
Untitled (Silueta Series, Mexico), 1976
Color photograph (estate print 1991)
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Ricardo and Isabel Ernst, Washington, D.C.
 
 
Untitled (Silueta Series, Mexico), 1976
Color photograph (estate print 1991)
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Ricardo and Isabel Ernst, Washington, D.C.
 
 
Untitled (Silueta Series, Mexico), 1976
Color photograph (estate print 1991)
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Ricardo and Isabel Ernst, Washington, D.C.
 
 
Untitled (Silueta Series, Mexico), 1976
Color photograph (estate print 1991)
13 1/4 x 20 in (50.8 x 33.7 cm)
Collection Ricardo and Isabel Ernst, Washington, D.C.
 
 
Tree of Life, 1976
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled (Silueta Series, Mexico), 1976
Lifetime color photograph
13 1/4 x 20 in (33.7 x 50.8 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled (Tree of Life Series), 1976
Lifetime color photograph
8 x 10 in (20.3 x 25.4 cm)
Collection Javier and M_nica G. Mora
 
 
Untitled (Tree of Life Series, Mexico), 1976
Lifetime color photograph
13 1/4 x 20 in (33.7 x 50.8 cm)
Collection Raquelín Mendieta Family Trust
 
 
Branding Iron, 1977
Iron cast of the artist's hand
Collection Ignacio C. Mendieta and Raquelín Mendieta Family Trust
 
 
El Ix-Chell Negro (The Black Ix-Chell), 1977
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
The Carol and Arthur Goldberg Collection
(Whitney and Hirshhorn Only)
 
 
Untitled (Fetish Series, Iowa), 1977
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
Collection Javier and M_nica G. Mora
 
 
Untitled (Fetish Series, Iowa), 1977
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
Whitney Museum of American Art, New York.
Purchase, with funds from the Photography Committee
 
 
Untitled (Silueta Series, Iowa), 1977
Lifetime color photograph
8 x 10 in (20.3 x 25.4 cm)
Collection Francie Bishop Good and David Horvitz
 
 
Untitled (Silueta Series, Iowa), 1977
Lifetime color photograph
13 1/4 x 20 in (33.7 x 50.8 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled (Silueta Series, Iowa), 1977
Lifetime color photograph
13 1/4 x 20 in (33.7 x 50.8 cm)
Des Moines Art Center Permanent Collections. Purchased
with funds from Rose F. Rosenfield, 1997.77
 
 
Untitled, c. 1977-78
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1978
35mm color slides
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Silueta Series, Iowa), 1978
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Collection Natalia Delgado
 
 
Untitled (Silueta Series, Iowa), 1978
Lifetime black and white photograph
16 x 20 in (40.6 x 50.8 cm)
Collection Ignacio C. Mendieta
 
 
Untitled (Silueta Series, Iowa), 1978
Lifetime black and white photograph
16 x 20 in (40.6 x 50.8 cm)
Collection Ruth Miles Pite and Carl R. Pite
 
 
Untitled (Silueta Series, Iowa), 1978
Lifetime black and white photograph
16 x 20 in (40.6 x 50.8 cm)
Collection Museum of Contemporary Art, Chicago,
Bernice and Kenneth Newberger Fund, 1995.112
 
 
Untitled (Silueta Series, Iowa), 1978
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Silueta Series), 1978
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Collection Anita and Burton Reiner
 
 
Untitled, c. 1978
Blank book burnt with branding iron
11 3/4 x 11 1/4 in (29.8 x 58.4 cm) overall
Des Moines Art Center Permanent Collections.
Purchased with funds from Rose F. Rosenfield and the Edmundson
Art Foundation, Inc.
 
 
Untitled, c. 1978-80
Black ink on tracing paper
12 x 9 in (22.9 x 30.5 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1978-80
Graphite on paper
5 3/4 x 3 5/8 (14.6 x 9.2 cm)
Collection Javier and Monica G. Mora
 
 
Untitled (Silueta Series, Iowa), 1979
Lifetime color photograph
8 x 10 in (20.3 x 25.4 cm)
Collection Carol and Judson Bemis, Jr.
 
 
Untitled (Silueta Series, Iowa), 1979
Lifetime color photograph
13 1/4 x 20 in (33.7 x 50.8 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled (Silueta Series, Iowa), 1979
Lifetime color photograph
20 1/16 x 13 1/16 in (50.96 x 33.18 cm)
Whitney Museum of American Art, New York. Purchase, with funds
from the Photography Committee
 
 
Untitled (Silueta Series), 1979
Lifetime color photograph
20 x 13 1/4 in (50.8 x 33.7 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Volcano), 1979
35mm color slides
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1980
Lifetime black and white photograph
40 x 55 in (101.6 x 139.7 cm)
Rodale Family Collection
 
 
Untitled, 1980
Lifetime black and white photograph
60 x 46 in (152.4 x 116.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Black Venus), 1980
Lifetime black and white photograph
40 x 55 in (101.6 x 139.7 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong,
New York
 
 
Untitled (Gunpowder Work #1), 1980
Super-8 color, silent film transferred to DVD
5 minutes 55 seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1980
Conté crayon on paper
12 x 9 3/16 in (30.5 x 23.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1980-84
Black pen on tracing paper
9 x 12 in (22.9 x 30.5 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1980-84
Oil and marker on paper
8 1/2 x 12 1/2 in (21.6 x 31.8 cm)
Collection Heidi and Erik Murkoff, Los Angeles, courtesy Sean Kelly Gallery, New York
 
 
Bacayu (Esculturas Rupestres) [Light of Day (Rupestrian Sculptures)], 1981
Black and white photograph
40 x 53 in (101.6 x 135.3cm)
Collection Raquelín Mendieta Family Trust
 
 
Esculturas Rupestres (Rupestrian Sculptures), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Collection Christine C. De Metruis
 
 
Esculturas Rupestres (Rupestrian Sculptures), 1981
Lifetime black and white photograph
10 x 13 1/4 in (25.4 x 33.66 cm)
Collection Carlo Lamagna
 
 
Guabancex (Esculturas Rupestres) [Goddess of Wind (Rupestrian Sculptures)], 1981
Lifetime black and white photograph
40 x 52 in (101.6 x 132.1 cm)
Collection Raquelín Mendieta Family Trust
 
 
Guanaroca (Esculturas Rupestres) [First Woman (Rupestrian Sculptures)], 1981
Lifetime black and white photograph
53 x 40 in (135.3 x 101.6cm)
Collection Carlos and Rosa de la Cruz
 
 
Isla (Island), 1981
Black and white photograph (estate print 1994)
40 x 30 in (101.6 x 76.2 cm)
Estate of Ana Mendieta Collection,
courtesy Galerie Lelong, New York
 
 
Itiba Cuhababa (Old Mother Blood), 1981
Gouache and acrylic on amate (bark) paper
16 x 11 5/8 in (40 x 29.2 cm)
Collection Raquelín Mendieta Family Trust
 
 
Itiba Cuhababa (Esculturas Rupestres) [Old Mother Blood (Rupestrian Sculptures)], 1981
Lifetime black and white photograph
60 x 40 in (152.4 x 101.6 cm)
Collection Ignacio C. Mendieta
 
 
Maroya (Esculturas Rupestres) [Moon (Rupestrian Sculptures)], 1981
Black and white photograph
40 3/4 x 53 1/2 in (101.6 x 135.3cm)
Collection Carlos and Rosa de la Cruz
 
 
Silueta de Entrañas (La Voladora) [Silhouette of Entrails (The Flyer)],1981
Acrylic on amate (bark) paper
15 3/4 x 12 in (40 x 30.5 cm), irregular
Collection Peter Menéndez, Miami
 
 
Untitled, 1981
35mm color slides
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1981
Black and white photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Guanabo), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Guanabo), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Jaruco), 1981
Lifetime black and white photograph
10 x 13 1/4 in (25.4 x 33.66 cm)
Collection Carlo Lamagna
 
 
Untitled (Jaruco), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Ochún), 1981
3/4 inch Beta SP tape, sound, transferred to DVD
8 minutes 38 seconds
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Silueta), 1981
Black and white photograph
8 x 10 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Varadero), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Varadero), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Varadero), 1981
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
La Concha de Venus (Shell of Venus), 1981-82
Acrylic on amate (bark) paper
24 x 16 in (61 x 40.6 cm)
The Ginny Williams Family Foundation
Collection Ginny Williams
 
 
Untitled (Amategram), c. 1981-82
Acrylic on amate (bark) paper
24 7/16 x 16 3/8 in (62 x 41.5 cm)
Collection Ignacio C. Mendieta
 
 
Untitled (Amategram), c. 1981-82
Acrylic on amate (bark) paper
15 7/8 x 12 1/4 in (40.3 x 31.1 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Arbitra (Witness), 1982
Lifetime color photograph
10 x 8 in (25.4 x 20.3 cm)
Collection Raquelín Mendieta Family Trust
 
 
Arbol de la Vida (Tree of Life), 1982
Lifetime black and white photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
La Concha de Venus (Shell of Venus), 1982
Lifetime black and white photograph
59 5/8 x 40 in (151.4 x 101.6 cm)
Collection Camille O. Hoffmann
 
 
Maroya (Moon), 1982
Limestone, cement, charcoal, pigment, and gunpowder
16 x 25 x 64 in (40.6 x 63.5 x 162.6 cm)
Collection César Trasobares and Juan Lezcano
 
 
Rastros Corporales (Body Tracks), 1982
Blood and tempera paint on paper
Three drawings, each 38 x 50 in (96.5 x 127 cm)
The Rose Art Museum, Brandeis University, Waltham, Massachusetts; Rose Purchase Fund
 
 
Tallus Mater (Stem Mother), 1982
Ficus root with polymer bonding agent
63 x 30 1/2 x 3 in (160 x 77.5 x 7.6 cm)
Collection Diane and Bruce Halle
 
 
Tallus Mater (Stem Mother), 1982
Ficus root with polymer bonding agent
60 x 19 x 6 in (152.4 x 48.3 x 15.2 cm)
Collection María González and Daniel Schleifman
 
 
Tallus Mater (Stem Mother), 1982
Ficus root with polymer bonding agent
63 x 24 x 4 in (153.7 x 61.6 x 10.2cm)
San Francisco Museum of Modern Art. Fractional and promised gift of
Lenore and Richard Niles and Accessions Committee Fund purchase
(Whitney only)
 
 
Untitled, 1982
Lifetime black and white photograph
54 1/2x 39 1/2 in (138.4 x 100.3 cm)
Collection Diana and Moisés Berezdivin
 
 
Untitled, 1982
Design on leaf
8 1/2x 5 in (21.6 x 12. 7 cm)
Collection Carlos and Rosa de la Cruz
 
 
Untitled, 1982
Design on leaf
7 3/4 x 5 1/4 in (19.7 x 13.3 cm)
Collection Camille O. Hoffmann
 
 
Untitled,1982
Design on leaf
6 3/4 x 5 in (17.1 x 12.7 cm)
Collection Christina Lurie
 
 
Untitled, 1982
Design on leaf
8 x 5 1/4 in (20.1 x 13.3 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled, 1982
Design on leaf
7 x 4 3/8 in (17.8 x 11.1 cm)
Collection Museum of Contemporary Art, Chicago,
Bernice and Kenneth Newberger Fund, 1995.113
 
 
Untitled, 1982
Design on leaf
8 x 5 3/4 in (20.3 x 14.6 cm)
Private Collection, Dallas, Texas
 
 
Untitled, 1982
Design on leaf
5 7/8 x 3 1/2 in (14.7 x 8.9 cm)
Private Collection
 
 
Untitled, 1982
Black and white photograph (estate print 1992)
61 1/2 x 48 in (156.2 x 121.9 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
 
Untitled, 1982
Design on leaf
71/2x 41/4 in (19.1 x 10.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1982
Design on leaf
4 x 3/4 in (10.2 x 1.9 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (La Concha de Venus) (Shell of Venus), 1982
Acrylic on amate (bark) paper
16 x 12 in (40.6 x 30.5 cm)
Collection Carlos and Rosa de la Cruz
 
 
Untitled (Maroya) (Moon), 1982
Lifetime black and white photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Maroya) (Moon), 1982
Lifetime black-and-white photograph
10 x 8 in (25.4 x 20.3 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1982-84
Design on leaf
7 5/8 x 4 1/2 in (19.4 x 11.4 cm)
Collection Ernesto and Cecilia Poma
 
 
Oráculo (Oracle), 1983
Sand and binder on wood
68 x 31 1/2 x 2 in (172.7 x 80 x 5.1cm)
Collection Diane and Bruce Halle
(All venues except Miami Art Museum)
 
 
Rupestrian Images, 1983
Boxed portfolio of ten photo etchings on Chine collé mounted
on Arches cover paper
Paper size: 10 x 7 1/4 in (25.4 x 18.4 cm) (Image sizes vary by 1/8 in,
average sizes are 3 5/8 x 5 1/4 in and 5 1/4 x 3 5/8 in)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1983
Sand and binder on wood
63 x 37 3/8 x 2 in (160 x 94.9 x 5.1 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled, 1983
Color photograph (estate print 1994)
13 1/4 x 20 in (33.7 x 50.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong,
New York
 
 
Untitled (La Jungla Series) (Jungle series), 1983
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
The Carol and Arthur Goldberg Collection
 
 
Untitled (La Jungla Series) (Jungle series), 1983
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Ann and Marshall Webb Collection, Toronto
 
 
Untitled (Serie Mujer de Arena) (Sandwoman Series), 1983
Sand and binder on wood
55 x 26 x 3 in (140 cm x 66 cm x 7 cm)
Collection Carlos and Rosa de la Cruz
(Miami Art Museum only)
 
 
Untitled, c. 1983
Conte crayon and pencil on paper
10 3/4 x 8 in (27.3 x 20.3 cm)
Collection Dr. and Mrs. Bert A. Lies, Jr.
 
 
Figura de Fango (Mud Figure), c. 1983-84
Earth and binder on wood
Five parts: two pieces 28 x 18 x 2 1/4 in (71.1 x 45.7 x 5.7 cm);
two pieces 32 1/2x 18 x 2 1/4 in (82.6 x 45.7 x 5.7 cm);
one piece 11 x 8 1/4 x 2 1/4 in (27.9 x 21 x 5.7 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1983-84
Wash on paper
13 x 8 1/2 in (33 x 21.6cm)
Collection Javier and M_nica G. Mora
 
 
Untitled, c. 1983-84
Pencil and red crayon on paper
13 x 8 3/8 in (33 x 21.3 cm)
Collection Barry and Julie Smooke
 
 
Figura con Nganga (Figure with Nganga), 1984
Earth and binder on wood
Two pieces 35 x 31 x 2 1/2 in (88.9 x 78.7 x 6.35 cm)
and 37 x 32 x 2 1/2in
(94 x 5 x 6.35 cm)
Collection Ignacio C. Mendieta
 
 
Furrows, 1984
Lifetime black and white photograph
8 x 10 in (20.3 x 25.4 cm)
Museum of Art, Rhode Island School of Design, Providence, Mary B. Jackson Fund
 
 
Untitled, 1984
Design on leaf
7 x 4 in (17.8 x 10.2 cm)
Collection Ramiro A. Fernández
 
 
Untitled, 1984
Earth and binder on wood
1 7/8 x 61 3/4 x 20 3/8 in (4.8 x 156.7 x 51. 7 cm)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution,
Washington, D.C., Museum Purchase, 1995 95.8
 
 
Untitled, 1984
Design on leaf
5 1/4 x 2 in (13.3 x 5.1 cm)
Private Collection, New York
 
 
Untitled, 1984
Ink on paper
12 x 9 in (31.8 x 24.1 cm)
Private Collection, New York
 
 
Untitled, 1984
Design on leaf
13 1/8 x 6 1/2 in (33.3 x 16.5 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1984
Design on leaf
51/2x 13/4 in. (14 x 2.5 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Study for Oráculo), 1984
Wash on paper mounted on cardboard
12 x 9 in (30.5 x 22.9 cm)
Private Collection, Brooklyn, New York
 
 
Untitled, c. 1984
Design on leaf
15 x 7 in (38.1 x 17.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled (Totem Grove series), 1984-85
Wood and gunpowder
78 1/2x 26 1/2x 24 in (199.4 x 67.3 x 61 cm)
Collection Ignacio C. Mendieta
 
 
Untitled (Totem Grove series), 1984-85
Wood
81 1/4 x 21 x 16 in (206.4 x 161.3 x 40.6 cm)
Collection Ignacio C. Mendieta
 
 
Untitled (Totem Grove series), 1984-85
Wood and gunpowder
72 1/2x 17 1/2x 13 1/4 in (184.2 x 44.5 x 33.7 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled (Totem Grove series), 1984-85
Wood and gunpowder
79 1/2x 25 x 21 in (201.9 x 63.5 x 53.3 cm)
Collection Raquelín Mendieta Family Trust
 
 
Untitled, 1985
Wood and gunpowder
85 x 9 x 1 in (215.9 x 22.7 x 2.5 cm)
Collection Davis Museum and Cultural Center, Wellesley College,
Wellesley, Massachusetts; Museum Purchase, The Dorothy Johnston Towne (Class of 1983) Fund
 
 
Untitled, 1985
Wood and gunpowder
791/4 x 111/2x 3 in (201.3 x 29.2 x 7.6 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1985
Wood and gunpowder
80 1/2x 11 1/4 x 1 1/2in (204.5 x 28.6 x 3.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, 1985
Wood and gunpowder
61 x 9 x 11/2in (154.9 x 22.9 x 3.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Untitled, c. 1985
Wash on paper
12 3/8 x 9 3/8 in (31.4 x 23.8 cm)
Collection Caroline and Dick Anderson
 
 
Untitled, c. 1985
Marker on paper
11 1/2x 8 1/2 in (29.2 x 21.6 cm)
Collection Dr. and Mrs. Bert A. Lies, Jr.
 
 
Untitled, c. 1985
Pencil on paper
12 x 9 in (30.5 x 22.9 cm)
Collection Dr. and Mrs. Bert A. Lies, Jr.
 
 
Untitled, c. 1985
Pencil on paper
13 x 8 in (33 x 20.3 cm)
Collection Lenore and Richard Niles
 
 
Untitled, c. 1985
Ink on paper
13 x 8 1/2 in (33 x 21.6 cm)
Private Collection
 
 
Untitled, c. 1985
Watercolor on paper
12 3/8 x 9 3/8 in (31.4 x 23.8 cm)
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
 
Intermedia Galleries (Vitrines with Archival Objects)
 
Dick Higgins
Something Else Newsletter, 1, no. 1, 1966
University of Maryland, Baltimore County
 
 
Robert Smithson
"Incidents of Mirror-Travel in the Yucatan"
Artforum, September 1969
 
 
Avalanche, Fall 1970, Winter 1971, and Fall 1972 issues
Courtesy Smithsonian American Art Museum/National Portrait Gallery Library, Smithsonian Institution
 
 
Archaeological field notes by Ana Mendieta and Cynthia Otis Charlton, 1971
From 1971 Figurine Catalogue, Research Project Post-Conquest Developments in the Teotihuacan Valley, directed by Thomas H. Charlton, Department of Anthropology, The University of Iowa
Index card
Courtesy Thomas H. Charlton and Cynthia Otis Charlton
 
 
Ana Mendieta at San Juan Teotihuacán archaeological zone, outside Mexico City, 1971
Polaroid
Estate of Ana Mendieta Collection, courtesy Galerie Lelong, New York
 
 
Hans Breder
Cuilapán, 1973
Silver print
10 x 10 in (25.4 x 25.4 cm)
Collection Hans Breder
 
 
Hans Breder
La Ventosa, 1973
Silver print
10 x 10 in (25.4 x 25.4 cm)
Collection Hans Breder
 
 
"The Pains and Pleasures of Rebirth: Women's Body Art"
Article by Lucy Lippard
Art in America, May-June 1976 issue
 
 
Artist's Sketchbook, 1976-78
Hardcover black leather bond sketchbook
8 1/2 x 5 1/2x 1 in (21.6 x 14 x 2.5 cm)
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York
 
 
Heresies 5, "The Great Goddess Issue," Vol. 2, No. 1, 1978, Reprint issue, 1980
Cover design by Mary Beth Edelson
(Hirshhorn Museum purchased copy)
 
 
Artist's Sketchbook, 1978-79
Hardcover black/blue leather bond sketchbook
6 x 4 x 1 in (15.2 x 10.2 x 2.5 cm)
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York
 
 
Heresies 13, "Earthkeeping/Earthshaking," Vol. 4, No. 1, 1979
Ana Mendieta's insert
(Hirshhorn Museum purchased copy)
 

 

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