Ana Mendieta

Ana Mendieta with the Cuban art historian and curator Gerardo Mosquera in Havana , 1981.

Ana Maria Mendieta (born November 18, 1948 in Havana , Cuba , † September 8, 1985 in New York , NY ) was a Cuban-American artist. In the thirteen years of her artistic career, she worked with performance , land art , conceptual art , photography and film. At the age of eleven, Mendieta, who came from a family critical of the regime, was sent from Cuba to Iowa, where she began her artistic work in 1972. In the following years she not only worked with different media, but also between cultures: She realized her artistic projects not only in North America but also in Central America, in the Caribbean and in Europe.

In her works, Mendieta dealt with the human body, sexuality and questions of identity, among other things, often working with blood as well as natural materials and fire in the landscape. She described her performances in the landscape with the term earth-body work . Some of her works of art are considered icons of the art of the 1970s and Latin American art of the second half of the 20th century. Even if Mendieta avoided categorical ascriptions such as Latin American and feminist and saw herself as a transcultural and transmedial artist, she is received as a significant feminist artist .

On the morning of September 8, 1985, Mendieta fell out of the window of her apartment on the 34th floor under unknown circumstances. Her husband Carl Andre was acquitted on reasonable grounds in a 1988 murder trial. The death of Mendieta and her peripheral position in the canon in contrast to Andre's success remained the subject of protests and criticism of the institutions of the art world.

life and work

Childhood and studies

Ana Mendieta was born in Havana on November 18, 1948. She came from a prominent family in Cuban politics and society. Her father, Ignacio Mendieta, was an initial supporter of Fidel Castro and his Cuban revolution , but became their opponent when he was asked to give up his Catholic faith and join the communist party . When he found out that his two daughters, eleven-year-old Ana and fifteen-year-old Raquelín, were involved in clandestine actions against the regime, he sent them to the USA on September 11, 1961, supported by Operation Pedro Pan of the Archdiocese of Miami . Through the mediation of this Catholic charity network, the sisters were only sent to a home in Dubuque , Iowa three weeks later and grew up there with three different foster families and a boarding school . Other authors state that the two sisters were only placed in different foster families for five years. In 1965 Ingacio Mendieta was sentenced to 20 years in prison because he was accused of collaborating with the CIA in the run-up to the Cuba crisis . That same year, Ana Mendieta graduated from high school and began studying at Briar Cliff College in Sioux City . The following year her mother Raquel Mendieta and her younger brother Ignacio were able to leave Cuba on one of the Freedom Flights . They settled in Cedar Rapids , Iowa, near the two sisters while the father remained incarcerated.

In 1967 Mendieta moved to Iowa State University . There she studied art and culture of indigenous peoples in the fall semester. In 1970, she began her graduate degree in painting from Iowa State. During this time she met the artist Hans Breder , who was a professor at her university, with whom she subsequently had a professional and romantic relationship until the summer of 1980. Breder set up an intermedia program as a course in 1970 and was a co-founder of the University's Center for New Performing Arts (CNPA). Mendieta stood for Breder Model and took part in Robert Wilson's CNPA workshops . She was involved in his productions Handbill and Deafman Glance . At this time, she came into contact with the artistic avant-garde of the 1970s, through which she got to know art movements such as Viennese Actionism . In 1971 she traveled to Mexico where she completed a summer course in archeology . In 1972 Mendieta received her Master of Fine Arts in painting, but subsequently gave up painting. Instead, she turned to performance and mixed media .

Artistic beginnings: Between Iowa and Mexico

In 1972 Mendieta created her first earth-body work of art with Grass on Woman , as well as her first performance Death of a Chicken . She presented the latter in the Intermedia Studio, where she let the blood of a decapitated chicken splash over her body. In the following year she intensified her preoccupation with blood as a medium. Inspired by the rape and murder of an Iowa State student, Mendieta created works such as Rape Scene that addressed violence against women. In the summer of 1973 she traveled to Mexico with Breder and a group of students from his Intermedia program. Mendieta created her first Siluetas in the pre-Columbian site of Yagul in Oaxaca . The following summer she returned to Mexico with Breder, where she made more Siluetas in Yagul and the former Convento Santiago Apóstol in Cuilapán de Guerrero . In the fishing village of La Ventosa near Salina Cruz , she shot Bird Runs and Ocean Bird Washup . After creating Siluetas on Old Man's Creek , Iowa, Mendieta returned to Oaxaca with Breder in 1975. In the fall of 1975 she worked with fire for the first time, with Julius Schmidt assisting her, who familiarized her with the use of pyrotechnics . In the spring of 1976 Mendieta traveled to Europe with Breder, where they performed the performance Blood and Feathers . In the summer she returned with him to La Ventosa, where she performed siluetas with natural materials and, one evening, with the help of a local pyrotechnician, also with fire. Upon her return to Iowa in the fall, Mendieta began her Tree of Life series . In 1977 she continued her work on the Siluetas , which she also performed in snow and ice at the beginning and end of the year. Inspired by her growing interest in images of goddesses and funeral themes, Mendieta began a series at Old Man's Creek that summer devoted to fetishes and the goddess Ixchel . In addition, she continued her work with fire, using pyrotechnics to burn figures into the earth, grass and tree stumps.

Establishment in the art world: New York, Cuba, Rome

In 1978 Ana Mendieta moved to New York in the hope of establishing herself as an artist . There she performs the performance body tracks in the Franklin Furnace Archive . She continued to work on the Siluetas . Among other things, Mendieta first carried out one in a museum, the Amelie A. Wallace Gallery of the State University of New York at Old Westbury . In the summer of 1978 she laid out more in the upstate New York and Iowa countryside . The following year Mendieta saw her father for the first time in eighteen years. As a result, she took the opportunity to travel to Cuba with the help of New York-based cultural institutions. In the summer she returned to Iowa, where she created variations on her series Tree of Life and Volcano . In the fall of 1979, Mendieta taught as an assistant professor at the State University of New York at Old Westbury. She also became a member of the women's gallery AIR , where she met the minimalist sculptor Carl Andre during her first solo exhibition on November 12, 1978 .

In January 1980 Mendieta returned to Cuba. The trip was organized by Círculo de Cultura Cubana , an organization of Cuban exiles for cultural exchange between Cuba and the United States. In addition to teaching at Old Westbury, she was a visiting artist at Kean University in New Jersey. For the group exhibition Art Across the Park in Central Park , Mendieta created a work with gunpowder in the Haarlem Meer, a lake at the northeast end of the park. In the summer of 1980, she and Breder returned one last time to Oaxaca, and in particular to La Ventosa, where she filmed work with gunpowder and scratched figures on embankments. After this trip, the romantic relationship with Breder ended, while that with Andre deepened. 1981 Mendieta visited Cuba again in January and July, where she made the Rupestrian Sculptures in Varadero and Jarusco as carved and colored figures in limestone. In March this year she laid for the Washington Project for the Arts , a Silueta in a cemetery in Georgetown, Washington, DC on; in May one followed for the La Cuarta Bienal in Medellín . In September 1981 she taught as a visiting artist at the Alfred State College of the State University of New York . In the fall of that year she traveled to Miami . There she performed Ceiba Fetish and Ochún at the Frances Wolfson Gallery of Miami Dade College . In her New York apartment she begins to make drawings.

As a guest of Real Art Ways and the Hartford Art School , Ana Mendieta carved a figure named Arbitra in a tree stump in 1982 . Thanks to the help of businessman Arthur Rodale , she was also able to work in a quarry in Fogelsville, Pennsylvania . In Scarborough , Toronto , Mendieta carved the Labyrinth of Venus into a rock face on Lake Ontario . In October 1982 she showed four sculptures made of plants and stones in a solo exhibition at the Lowe Art Museum in Miami. At the invitation of the University of New Mexico Art Museum in Albuquerque , she made spirals out of mud on the campus of the University of New Mexico . In addition to these exhibitions and projects, Mendieta began in autumn 1982 to prepare a book documenting the Rupestrian Sculptures in Cuba from the previous year. In 1983 she created spirals of sand on various beaches on Cape Cod and Long Island . Mendieta was awarded the Rome Prize of the American Academy in Rome , which was endowed with a one-year studio stay in Rome from October 1983. There she executed flat floor reliefs made of sand, earth and binding agent in 1984, which were exhibited in the Galleria Primo Piano . Together with an Italian craftsman, she created totem figures outside Rome from burned and carved wood. To extend her stay, Mendieta rented an apartment and studio on the grounds of the American Academy. Together with Carl Andre she traveled through Europe and visited, among others, Pompej , Cerveteri , as well as prehistoric sites on Malta and Newgrange in Ireland, which served as inspiration for the development of works of art on a large scale. Mendieta also took part in the 1984 exhibition Land Marks: New Site Proposals by Twenty-two Original Pioneers of Environmental Art at Bard College , alongside Alice Aycock , Nancy Holt , Mary Miss and Robert Stackhouse .

End of life

On January 17, 1985, Mendieta married Carl Andre in a private ceremony in Rome. The Otis Art Institute at Parsons The New School for Design commissioned her to create seven totem sculptures entitled La Jungla for the MacArthur Park Public Art Program . In August 1985, Mendieta returned to New York from Rome.

Ana Mendieta died on September 8, 1985, falling from the 34th floor of her New York apartment. There is no reliable information about the circumstances of death. According to the Mendietas family, they were planning to divorce Andre because he had cheated on him. On the other hand, there was also the testimony of Nancy Spero , who spoke of a planned vacation for Mendietas and Andres. There had been an argument between the two in the apartment, in the course of which the fall occurred. Andre described the incident in a call to the 911 as follows: “My wife is an artist, and I'm an artist, and we had a quarrel about the fact that I was more, eh, exposed to the public than she was. And she went to the bedroom, and I went after her, and she went out the window. ” As a result, Andre made contradicting statements about what happened. In 1988, however, he was acquitted by the judge on grounds of reasonable doubt in a trial accusing him of second degree murder . The investigations and litigation were criticized as unfounded. Mendieta's death therefore polarized the New York art scene and the wider art world in the years that followed.

plant

As Mendieta in the early 1970s, still a student at Iowa State University was led performances by audience. However, she subsequently gave up this approach and worked at the interface between performance and body-related art as well as Land Art . She developed performance-based actions in the landscape, which she documented on film and photographically and only made accessible to the public with a delay, while the original work was created in a private process. This also blurred the line between artwork and documentation. Direct interaction with the audience was not intended. Mendieta defined the resulting works as earth-body work . In her work, she referred to symbols that she adapted from different cultures. So she referred to the indigenous people of North America, Afro-Cuban traditions and indigenous cultures of Mexico. With these appropriations, Mendieta positioned himself outside the modern and post-modern art discourse, but this self-attribution was not always taken up by art criticism and art history.

Since she executed many of her works in perishable materials, these have been passed down mainly through documentation in the form of slides, photographs, prints and artist books. With almost 80 films of her performances, she is also one of the most productive film artists of her generation. Mendieta's estate is managed by the New York gallery Lelong , since 2010 together with the Alison Jacques Gallery in London. It is also in the collections of numerous museums such as the Solomon R. Guggenheim Museum , Metropolitan Museum of Art , Whitney Museum of American Art , Museum of Modern Art New York , The Art Institute of Chicago , Center Pompidou , the Tate Gallery of Modern Art and of the Verbund Wien Collection.

Performances

Untitled (Glass on Body Imprints - Face)
1972
photograph
25.4 x 20.3 cm
Princeton University Art Museum , Princeton Link to the picture (please note copyrights )

Untitled (Rape Scene)
1973
photograph
25.4 x 20.3 cm
Tate Gallery of Modern Art , London Link to the picture (please note copyrights )

After initially studying painting as a student, Mendieta turned to performance in the context of the intermedia seminars organized by Hans Breder at Iowa State University. Her first such work was Death of a Chicken . This was Mendieta's only performance that included an animal sacrifice, while subsequently using blood several times. Performances like Untitled (Grass on Woman) , which is also considered her first earth-body work , Untitled (Facial Cosmetic Variations) and Untitled (Facial Hair Transplant) followed . The latter two were not only related to Viennese Actionism , but also to rituals of the Santería . Mendieta herself came from a Catholic household, only the servants of the family practiced Santería. Through the material and ritual aspects of this religion, she established the connection to her country of origin. With these works, Mendieta stood out among the participants in Breder's seminars: she was not only the only woman, but also set herself apart from the works of her fellow students, which were more conceptual art , with the aggressive use of her body and blood .

During her studies, Mendieta took a series of photographs called Glass on Body Imprints , for which she pressed parts of her body, especially her face, breasts and buttocks, against a sheet of Plexiglas. On the one hand, this staging indicated the importance of the medium for the representation while at the same time narrowing the subject. On the other hand, this series also had a decidedly political meaning: For example, Mendieta reproduced racist stereotypes with the flat nose or the large lips that arose from contact with the glass plate.

Mendieta addressed the issue of violence against women in three actions that were supposed to have a shocking effect . She staged the action Rape Scene in her apartment in Iowa City , to which she invited the audience. Mendieta found it there bent over a table, pants pulled down to her feet and her buttocks and legs smeared with blood. Cigarettes and broken glass lay on the floor around the table. In her staging, the artist followed the description in newspaper articles, the horror of which she wanted to evoke.

Earth-body works

Siluetas

The Siluetas series represents one of Mendieta's most important work complexes. These works, which she implemented with different materials, all had the silhouette of her body as a common object. This was separated from the work, but remained the object of view as an invisible body due to its shape. Imágen de Yágul is considered to be the first work in this series, but it was only afterwards that the artist referred to it as such. It was created in 1973 during Mendieta's second trip to Oaxaca, during which she developed a new artistic expression. With this work she intervened directly in the environment. They embodied the potential to take over space with the body and to change it. By intervening in the natural and social order, Mendieta created spaces of possibility. For later body performances under the title Siluetas between 1973 and 1977 in Mexico, where she stayed during the summer months, she created “ephemeral productions of great beauty and emotional power” in landscapes with earth, plants, fire and water. These works on the border between performance and sculptural work are only documented through photographs and film recordings, thus expanding the parameters of sculpture and physical space. This materiality of the work, however, also poses special conservation challenges to the preserving institutions. Ultimately, the photographic and film documentation take on the status of their own works.

Mendieta commented on her Siluetas : “I had a dialogue between the landscape and the female body [based on my own silhouette]. I believe it is directly due to the fact that I was torn from my home country [Cuba] in my youth. The feeling of being thrown out of the womb [nature] is overwhelming. My art allows me to rediscover the bonds that unite me with the universe. It is a return to the maternal source. […] This obsessive act of affirmation of my connection with the earth is actually an affirmation of primeval belief in an omnipresent female power, the afterimage of being around in the womb and an expression of my thirst for being. "

Mendieta created an important piece of this group of works in 1975 with the Silueta de Yamaya on Old Man's Creek. On a raft lined with red velvet , she arranged white flowers in the shape of her body. A short time later, with Silueta de Cenizas, the first work for which Mendieta used fire followed. Following the writings of Mircea Eliade , she understood water and fire as sources of energy and symbolic media, which related to baptism or the transition of the soul from death to rebirth. In November 1975 Mendieta filmed the Alma Silueta en Fuego action , which consisted of burning a silhouette made of white paper. She had previously used white paper as a shroud for a similar action, but since there was no symbolic corpse, only the ashes of the paper remained in the hollowed-out body shape in the ground.

Rupestrian Sculptures

In 1981, in Cuba, she created the Rupestrian Sculptures , a series of semi-abstract figures that she engraved in the soft rock of the Jaruco Park caves, giving them names of goddesses worshiped by the indigenous Taíno .

reception

Position in the art business

Ana Mendieta was the subject of opposing modes of reception. Her death in unexplained circumstances came at a time of intensified discussions about questions of the center and periphery, multiculturalism and an emerging global cultural scene. Both her biography and her artistic work were instrumentalized in these contexts by various actors such as Carl Andre, feminists, art historians and the New York art scene for personal, social and political goals. This circumstance also contributed to the fact that their work and life were largely little known and researched. To make matters worse, there was an unfavorable climate towards Mendieta in art criticism and large parts of her work were not accessible until the late 1990s. Mendieta was not formally represented by a gallery and the family was unsure how to proceed with the artistic estate, which included thousands of slides, 81 Super 8 films, hundreds of prints, negatives, drawings and correspondence. It was not until 1991 that the Lelong Gallery in New York was commissioned to represent the estate. From this point on, researchers could inspect and create publications and exhibitions. There was also a photographic edition of 21 images from the Siluetas series from Iowa and Mexico in the 1970s. This edition and a first exhibition of some drawings and sculptures in New York's New Museum of Contemporary Art in 1988 , which was shown until 1990 in the Los Angeles Contemporary Exhibitions gallery and the Aspen Art Museum , shaped the image of Mendieta's work for the decade her death.

It wasn't until the mid-1990s that the works Mendieta made at the University of Iowa in the early 1970s received attention. The interest of art historians such as Julia P. Herzberg and the Spanish curator Gloria Moure led Galerie Lelong to grant wider access to the archive by creating an inventory of the slides in 1998 and 1999 and organizing them chronologically. In the early 2000s, the Lelong family and gallery began restoring the cinematic work. During this time, other exhibitions also took place, such as the Centro Galego de Arte Contemporánea in Santiago de Compostela in 1996 and a traveling exhibition at the Hirshhorn Museum and Sculpture Garden in Washington in 2004, in which Mendieta's filmic works were shown for the first time. This development meant that Mendieta was subsequently received as recognized performance and land art artists such as Rebecca Horn , Marina Abramović , Bruce Nauman , Hans Breder , Nancy Spero , Carolee Schneemann and Vito Acconci . Nevertheless, many of her works remained unpublished and thus even hidden from art historical research. Curators and authors also viewed the problem as a problem that it is not clear which of the many photographs Mendieta herself would have wanted to make available to the public, as many of her works were not presented during her lifetime due to a lack of exhibition opportunities. Most posthumously published pictures therefore also showed indicators such as annotations or test prints that suggested Mendieta's intention to publish. With the exhibition Unseen Mendieta , Olga Viso attempted to make previously unseen works and documentation of already known works by Mendieta accessible . The Unfinished Works of Ana Mendieta in 2008.

Protests: Where is Ana Mendieta?

Ana Mendieta has been the subject of repeated protests due to the circumstances of her death and her status in art history. When the Guggenheim SoHo opened in 1992 , there was a demonstration of 500 feminists who, among other things, carried posters with the words "Where Is Ana Mendieta?" At this time, the protest was directed against the ignorance of the art business towards the work of Mendieta, which was primarily the subject of feminist art criticism. But even after Mendieta was exhibited in prestigious museums, she remained a symbol of the struggle of women in the canon of art history. For example, on the occasion of the opening of the extension to the Tate Gallery of Modern Art in London in mid-June 2016, activists from the groups WHEREISANAMENDIETA and Sisters Uncut demonstrated against the lack of representation of Mendieta in the museum. The Tate Modern owns five works by Mendieta, none of which was on display at the opening of the museum extension, while some of the ten works by Carl Andre were included in the presentation. The protest was directed against this imbalance of canonization, which would primarily exclude Women of Color.

Artistic reception

Ana Mendieta exerted influence on female artists in the context of feminist art , both with her artistic work and because of the circumstances of her death . It was also an important point of reference for the Cuban art scene in the late 1980s and early 1990s. For example, the Cuban artist Tania Bruguera dealt with Mendieta's body-related performances in her early work, which she reinterpreted. From Mendieta's death to 1996, Tribute to Ana Mendieta , she created new interpretations that went beyond a mere staging that was true to the work and was intended to break the spell of artistic originality. Bruguera also took the position that this type of visualization alone, but not documentation, could do justice to the performances as a work of art.

An important reference was a series of homages to Ana Mendieta by Nancy Spero , who was friends with the late artist and who took part in joint political actions several times, in the early 1990s. Among other things, she repeated the performance Body Tracks (Rastros Corporales) , which she attended on April 8, 1982 in the Franklin Furnace art space in New York. Mendieta left hand and arm prints with animal blood on paper that was fixed to the wall and then let herself slide to the floor with her hands and arms still pressed on the paper. References to well-known pioneers are not uncommon in the practice of feminist art and are mostly made by younger artists. The significantly older Spero reversed this intergenerational relationship in her homages to Mendieta. The first reference was made in 1991 depending on the situation. Spero was to carry out a wall installation in the Von der Heydt Museum in Wuppertal , entitled Ballad to Marie Sanders. The Jew's Whore, based on a work by Bertolt Brecht, was supposed to address the female victim status. When wall space was still available after the execution, she had an assistant repeat Mendieta's performance from 1982 with red paint. In 1993 Spero repeated this performance with her own body at the Whitney Museum Biennial in New York City. In this case, the performance was rehearsed and carefully documented. She made a second iteration in 1995 at the Aldrich Contemporary Art Museum in Connecticut. Apart from this artistic reference, Spero published the text Tracing Ana Mendieta in 1992 , in which she deals with Mendieta's art in the landscape.

In 1993 a poem by Nancy Morejón entitled Ana Mendieta was published in the journal Hispamérica .

On the occasion of the exhibition Where is Ana Mendieta? Donde está Ana Mendieta? 25 Years Later in the Bobst Library of the State University of New York, which took place from August 1 to October 8, 2010 and included works by Mendieta, archival documents and Richard Move's documentary BloodWork: The Ana Mendieta Story , a symposium of the same name took place. There, participants treated Kat Griefen , director of the AIR Gallery, Genevieve Hyacinthe , art historian at the State University of New York, José Esteban Muñoz , director of the performance studies program there, Diane Taylor , art historian at New York University, and Carolee Schneemann , performance -Artist and friend Mendieta, also explicitly discussed the circumstances of Medieta's death and addressed Andre's acquittal as unjust.

Exhibitions (selection)

• 2018–2019 Feminist Avant-garde / Art of the 1970s SAMMLUNG VERBUND Collection, Vienna , The Brno House of Arts, Brno, Czech Republic.
• 2018 Covered in Time and History: The Films by Ana Mendieta , Gropius-Bau, Berlin.
• 2017–2018 Feminist avant-garde of the 1970s from the Verbund collection, Vienna . ZKM , Karlsruhe, DE.
• 2017 WOMAN. Feminist avant-garde of the 1970s from the Verbund collection , MUMOK , Vienna.
• 2015 Feminist avant-garde of the 1970s. Works from the Verbund collection, Vienna , Hamburger Kunsthalle .

literature

• Kelly Baum: Shapely Shapelessness: Ana Mendieta's "Untitled (Glass on Body Imprints: Face)", 1972 , in: Record of the Art Museum, Princeton University, Vol. 67, More than One: Photographs in Sequence (2008), pp. 80-93.
• Jane Blocker & Ana Mendieta: Where Is Ana Mendieta ?: Identity, Performativity, and Exile , Duke University Press, Durham u. a. 1999, ISBN 0-8223-2304-4 .
• Kaira M. Cabañas: Ana Mendieta: "Pain of Cuba, Body I Am" , in: Woman's Art Journal, Vol. 20, No. 1 (Spring - Summer, 1999), pp. 12-17.
• Robert Katz : Naked by the Window: The Fatal Marriage of Carl Andre and Ana Mendieta . New York: Atlantic Monthly Press, 1990
• Magdalena Maíz-Peña: Body Tracks: dis / locaciones, corporeidad y estética fílmica de Ana Mendieta , in: Letras Femeninas, Vol. 33, No. 1, Número especial: Global and Local Geographies: The (Dis) locations of Contemporary Feminisms (Verano 2007), pp. 175-192.
• Laura Roulet: Ana Mendieta and Carl Andre: Duet of Leaf and Stone , in: Art Journal, Vol. 63, No. 3 (Autumn, 2004), pp. 80-101.
• Laura Roulet: Ana Mendieta as Cultural Connector with Cuba , in: American Art, Vol. 26, No. 2 (Summer 2012), pp. 21-27.
• Anna Raine: Embodied geographies: subjectivity and materiality in the work of Ana Mendieta in: Griselda Pollock (Ed.): Generations and Geographies in the Visual Arts. Feminist Readings , Rouledge, London 1996, ISBN 0-415-14127-3 . Pp. 228-249.
• Stephanie Rosenthal: Ana Mendieta. The state of the »in between« , in: Gabriele Schor (Ed.): Feministische Avantgarde. Art of the 1970s from the Verbund collection, Vienna , Prestel, Munich 2012, ISBN 978-3-7913-5445-3 . Pp. 295-302.
• Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008, ISBN 978-3-7913-3966-5 .

Web links

• Vincent Patrick: A Death in the Art World New York Times , June 10, 1990
• Blake Gopnik: 'Silueta' of A Woman: Sizing Up Ana Mendieta Washington Post , October 17, 2004
• Art aspects: Ana Mendieta
• Images of the works of Ana Mendieta on the website of the Allison Jacques Gallery, London

Individual evidence

1. ↑ ^{a b c d} Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 14.
2. ↑ ^{a b c d} Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 8.
3. ↑ Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 7.
4. ↑ ^{a b c} Laura Roulet: Ana Mendieta as Cultural Connector with Cuba , in: American Art, Vol. 26, No. 2 (Summer 2012), pp. 21-27, 21.
5. ↑ ^{a b c d e f} Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 16.
6. ↑ ^{a b c} Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 17.
7. ↑ ^{a b c d e} Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 18.
8. ↑ ^{a b} Ronals Sullivan: Greenwich Village Sculptor Acquitted of Pushing Wife to Her Death , published in the New York Times, February 12, 1988, available on nytimes.com on 9 July 2016th
9. ↑ ^{a b} Gillian Sneed: The Case of Ana Mendieta , published on October 12, 2010 on artinamericamagazine.com, accessed on July 9, 2016.
10. ↑ ^{a b c} Stephanie Rosenthal: Ana Mendieta. The state of the »in between« , in: Gabriele Schor (Ed.): Feministische Avantgarde. Art of the 1970s from the Verbund Collection, Vienna , Prestel, Munich 2012, pp. 295–302, 295.
11. ↑ ^{a b} Leslie Camhi: ART; Her Body, Herself , published in the New York Times on June 20, 2004, accessed on nytimes.com on July 11, 2016.
12. ^ Artist page Ana Mendieta , accessed on alisonjacquesgallery.com on January 1, 2019.
13. ↑ ^{a b} Stephanie Rosenthal: Ana Mendieta. The state of the »in between« , in: Gabriele Schor (Ed.): Feministische Avantgarde. Art of the 1970s from the Verbund Collection, Vienna , Prestel, Munich 2012, pp. 295–302, 296.
14. ↑ ^{a b} Mechtild Widrich: The fourth wall becomes thoughtful. Feminist experiments with the camera , in: Gabriele Schor (Hrsg.): Feministische Avantgarde. Art of the 1970s from the Verbund Collection, Vienna , Prestel, Munich 2012. pp. 68–73, 72.
15. ↑ Gabriele Schor: The feminist avant-garde. A radical revaluation of values in: this. (Ed.): Feminist avant-garde. Art of the 1970s from the Verbund Collection, Vienna , Prestel, Munich 2012. pp. 17–67, 65.
16. ^ ^{A b} Ana Mendieta and Charles Merewether: Portfolio , in: Grand Street, No. 67, Fire (Winter, 1999), pp. 40-50, 49.
17. ↑ Chrissie Iles and Henriette Huldisch: Keeping Time: On Collecting Film and Video Art in the Museum , in: Bruce Altshuler (Ed.): Museums and Contemporary Art. Collecting the New , Princeton University Press, Princeton / Oxford 2005, 65-83 , 65 and 66.
18. ↑ Dietmar Rübel: Das Als-ob der Formlosess und die Fotografie , in: Franz Engel and Yannis Hadjinicolaou (eds.): Formwerdung und Formmentzug (= Actus et Imago. Volume XVI. Berliner Schriften für Bildaktforschung und Embodimentphilosophie, edited by Horst Bredekamp and Jürgen Trabant) , Walter De Gruyter, Berlin / Boston 2016, 65-83, 222 and 223.
19. ↑ Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. pp. 8 and 9.
20. ↑ ^{a b} Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 9.
21. ↑ Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 10.
22. ↑ Olga Viso: Unseen Mendieta. The Unfinished Works of Ana Mendieta , Prestel, Munich 2008. p. 12.
23. ↑ Sean O'Hagan: Ana Mendieta: death of an artist foretold in blood , published on September 22, 2013 on theguardian.com, accessed on July 9, 2016.
24. ↑ WHEREISANAMENDIETA on facebook.com, accessed on July 9, 2016 ; WHEREISANAMENDIETA Twitter channel, accessed July 9, 2016.
25. ↑ Isabella Smith: Protesters Demand “Where Is Ana Mendieta?” in Tate Modern Expansion , published June 14, 2016 on hyperallergic.com, accessed July 8, 2016.
26. ↑ Thomas R. Huber: Aesthetics of Encounter. Art as a space for others to experience , transcript, Bielefeld 2013, 293 and 308.
27. ^ Joanna S. Walker: The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta , in: Tate Papers, No. 11 (Spring 2009), 1-3.
28. ^ Joanna S. Walker: The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta , in: Tate Papers, No. 11 (Spring 2009), 6-7.
29. ^ Joanna S. Walker: The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta , in: Tate Papers, No. 11 (Spring 2009), 8.
30. ^ Nancy Morejón: Ana Mendieta , Hispamérica, Año 22, no. 66 (Dec., 1993), pp. 59-61.
31. ↑ [1]
32. ↑ [2]
33. ↑ [3]
34. ↑ [4]
35. ↑ [5]
36. ↑ [6]