Ana Mendieta (18 November 1948 – 8 September 1985) was a Cuban American performance
artist, sculptor, painter and video artist who
is best known for her "earth-body" art work.
Mendieta was born in Havana, Cuba to a family prominent in the country's politics and society. At
age 12, in order to escape Fidel
Castro's regime, Ana and her 14-year-old
sister Raquelin were sent to the United
States by their parents. Through Operation Peter Pan, a
collaborative program run by the U.S. Government and the Catholic Charities,
Mendieta and her sister spent their first weeks in refugee camps before moving
to several institutions and foster homes in Iowa. In 1966, Mendieta was reunited with her mother
and younger brother; her father joined them in 1979, having spent 18 years in a
Cuban political prison for his involvement in the Bay of Pigs invasion.
Mendieta attended the University of Iowa where she earned a BA, an MA in Painting and an MFA in Intermedia under the instruction of acclaimed artist Hans
Breder. Through the course of her career, she
created work in Cuba, Mexico, Italy, and the United States.
Mendieta's work was generally autobiographical and
focused on themes including feminism, violence, life, death, place and belonging.
Mendieta often focused on a spiritual and physical connection with the Earth,
most particularly in her "Silueta Series" (1973–1980). The series
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.
In 1983 Mendieta was awarded the Rome Prize from the American
Academy in Rome. While
in residence in Rome, Mendieta began creating art "objects,"
including drawings and sculptures. She continued to use natural elements in her
work.
Ana Mendieta died on September 8, 1985 in New York from a fall from her 34th floor apartment
in Greenwich Village's 300 Mercer Street, where
she lived with her husband of eight months,minimalist sculptor Carl Andre. Just prior to her death, neighbors heard the
couple arguing violently. There were no eyewitnesses. Andre was
tried and acquitted of her murder. During the three-year trial,
Andre's lawyer described Mendieta's death as a possible accident or suicide.
Examples of her work:
Silueta
Series (1973-1980)
When she began her "Silueta Series" in
the 1970s, Mendieta was one of many artists experimenting with the emerging
genres of land art, body art, and performance art. Mendieta was possibly the first to combine these genres in what
she called "earth-body" sculptures (Jacob 1999, p. 3). She often
used her naked body to explore and connect with the Earth, as seen
in her pieceImagen de Yagul, from the series Silueta Works in
Mexico 1973-1977. 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
holding a freshly decapitated chicken by its feet as its blood spattered her
naked body. Appalled by the brutal rape and murder of nursing student Sara
Ann Otten at the University of Iowa, Mendieta smeared herself with blood and
had herself tied to a table in 1973, inviting an audience in to bear witness. In
a slide series, People Looking at Blood Moffitt (1973), she
pours blood and rags on a sidewalk and photographs a seemingly endless stream
of people walking by without stopping, until the man next door (the storefront
window bears the name H. F. Moffitt) comes out to clean it up.
Mendieta also created the female silhouette using
nature as both her canvas and her medium. She used her body to create
silhouettes in grass; she created silhouettes in sand and dirt; she created
silhouettes of fire and filmed them burning. 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 popular name for an Afro-Cuban religious
brotherhood, is a floor installation of black candles dripping wax in the
outline of the artist's body. Through these works, which cross the boundaries
of performance, film and photography, Mendieta explored her relationship with
place as well as a larger relationship with mother Earth or the "Great
Goddess" figure (Blocker 1999, p. 47-48).
Mary Jane Jacob suggests in her book Ana
Mendieta: The "Silueta" Series (1973-1980) that much of
Mendieta's work was influenced by her interest in the religion Santería,
as well as a connection to Cuba (Jacob 1991, p. 4). Jacob attributes
Mendieta's "ritualistic use of blood" (Jacob 1991, p. 10) and
the use of gunpowder, earth and rock to Santería's ritualistic traditions
(Jacob 1991, p. 17).
Jacob also points out the significance of the
mother figure, referring to the Mayan deity Ix Chel, the mother of the Gods
(Jacob 1991, p. 14). Many have interpreted Mendieta's recurring use of
this mother figure, and her own female silhouette, as feminist art. However,
because Mendieta's work explores many ideas including life, death, identity and
place all at once, it cannot be categorized as part of one idea or movement.
Photo
Etchings of the Rupestrian Sculptures (1981)
As documented in the book Ana Mendieta: A
Book of Works, edited by Bonnie Clearwater, before her death, Mendieta was
working on a series of photo-etchings of cave sculptures she had created at
Escaleras de Jaruco, Jaruco State Park in Havana, Cuba (Clearwater 1993,
p. 11). Her sculptures were entitled Rupestrian Sculptures (1981)
- the title refers to living among rocks - and the book of photographic
etchings that Mendieta was creating to preserve these sculptures is a testament
to the intertextuality of Mendieta's work. Clearwater explains how the
photographs of Mendieta's sculptures were often as important as the piece they
were documenting because the nature of Mendieta's work was so impermanent.
Mendieta spent as much time and thought on the creation of the photographs as
she did on the sculptures themselves (Clearwater 1993, p. 11).
Mendieta returned to Havana, Cuba, the place of her
birth for this project, but she was still exploring her sense of displacement
and loss, according to Clearwater (Clearwater 1993, p. 18). The Rupestrian
Sculptures that Mendieta created were also influenced by the Tainan
people, "native inhabitants of the pre-hispanic Antilles," which
Mendieta became fascinated by and studied (Clearwater 1993, p. 12).
Mendieta had completed five photo-etchings of
the Rupestrian Sculptures before she died in 1985. The
book Ana Mendieta: A Book of Works, published in 1993, contains
both photographs of the sculptures as well as Mendieta's notes on the project
(Clearwater 1993, p. 20).
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