Untitled (Self-Portrait with Blood) (detail), 1973. Private collection, London; Courtesy Alison Jacques Gallery, London
Untitled (Body Tracks), 1974. Colour photograph, lifetime print. Collection of Igor DaCosta. © The Estate of Ana Mendieta Collection, L.L.C. Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London
Blood and Feathers #2. 1974
Imagen de Yagul. 1973
Untitled (Cuilapán Niche). 1973. Black-and-white photograph (lifetime print). Private collection, London; Courtesy Gallery Lelong, New York and Paris, and Alison Jacques Gallery London
Tree of Life. 1976. Colour photograph, lifetime print
Collection Raquelín Mendieta Family Trust
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London
“Ana Mendieta died at just 36 years old, but the imprint of her life digs deeper than most. Mendieta’s work occupies the indeterminate space between land, body and performance art, refusing to be confined to any one genre while working to expand the horizons of them all. With the immediacy of a fresh wound and the weightlessness of a half-remembered song, Mendieta’s artwork remains as haunting and relevant today as ever.
Her haunting imagery explores the relationship between earth and spirit while tackling the eternally plaguing questions of love, death and rebirth. Like an ancient cave drawing, Mendieta’s art gets as close as possible to her subject matter allowing no excess, using primal and visceral means to navigate her themes. Decades after her death, the Museum der Moderne Salzburg will show a retrospective of the late feminist artist’s work, simply titled “Ana Mendieta: Traces.”
Mendieta, who was born in Havana, Cuba in 1948, moved to the U.S. at 12 years old to escape Castro’s regime. There she hopped between refugee camps and foster homes, planting inside her an obsession with ideas of loss, belonging and the impermanence of place. As an artist in the 1970s, Mendieta embarked upon her iconic series “Silhouettes,” in which she merged body and earthly material, making nature both canvas and medium. In her initial “Silhouette,” Mendieta lay shrouded in an ancient Zapotec grave, letting natural forms eat up her diminutive form.
Her “earth-body” sculptures, as they came to be known, feature blood, feathers, flowers and dirt smothered and stuck on Mendieta’s flesh in various combinations. In “Imagen de Yagul,” speckled feverishly in tiny white flowers, she appears as ethereal and disembodied as Ophelia, while in “Untitled Blood and Feathers” Mendieta looks simultaneously the helpless victim and the guilty culprit. “She always had a direction – that feeling that everything is connected,” Ana’s sister Raquelin said of her work.
An uncertain mythology runs throughout Mendieta’s oeuvre, a feeling at once primal, pagan and feminine. Admirers have cited the Afro-Cuban religion of Santeria as an influence, as well as the ancient rituals of Mexico, where Mendieta made much of her work. Yet many of Mendieta’s pieces removed themselves from the spiritual realm to address present day events, for example “Rape Scene,” a 1973 performance based off the rape and murder of a close friend. For the piece Mendieta remained tied to a table for two hours, motionless, her naked body smeared with cow’s blood. In another work, Mendieta smushes her face and body against glass panes, like a child eager to peek into an off-limits locale, or a bug that’s crashed into a windshield. Against the glass, her scrambled facial features almost resemble a Cubist artwork.
Mendieta died tragically young in 1985, falling from her New York City apartment window onto a delicatessen below. She was living with her husband of eight months, minimalist sculptor Carl Andre at the time. Andre was convicted of murder following the horrific incident and later acquitted. Though the art world remains captivated by the mysterious nature of Mendieta’s passing, her sister emphasized the importance of removing Ana’s work from her life story. “I don’t want it to get in the way of the work,” she said. “Her death has really nothing to do with her work. Her work was about life and power and energy and not about death.”
Fellow feminist performance artist Carolee Schneeman disagrees, however, telling The New York Timesin 2004: “I see her death as part of some larger denial of the feminine. Like a huge metaphor saying, we don’t want this depth of feminine eroticism, nature, absorption, integration to happen. It’s too organic. It’s too sacral. In a way, her death also has a symbolic trajectory.”
Since many of Mendieta’s artworks were bodily performances, the ephemera that remain are but traces of her original endeavors. For an artist whose career was built on imprints, ghosts and impressions, this seems aptly fitting. Visceral yet distant, bodily yet spiritual, Mendieta’s images speak a language very distant from the insular artistic themes that so often populate gallery and museum walls. Mendieta’s works present the female body turned out, at once vulnerable and all-powerful, frail and supernatural. As her retrospective makes obvious, her artistic traces are still oozing lifeblood.”
Priscilla Frank. “The Haunting Traces Of Ana Mendieta Go On View (NSFW),” on the Huffington Postwebsite February 4, 2014 [Online] Cited 30/06/2014
26 Male Survivors Of Sexual Assault Quoting The People Who Attacked Them
This needs more notes.
no one seems to care if they are guys
reminder that rape and sexual abuse happens to everyone, not just girls
reminder that rape and sexual abuse needs to be acknowledged no matter a person’s gender and “no one seems to care if they are guys” is a typical antifeminist theory that is disproven by the fact that this photo set has 100,000+ notes alone
Words and music by Keaton Henson. Acclaimed actor Sir Derek Jacobi and film maker William Williamson.
Area 1983 - 1987. A look back at Area, the ’80s club that turned partying into an art.
"It was more important that we make our mark than make it rich," says Eric Goode, one of the four founders of the legendary nightclub Area, which was only open from 1983 to 1987, but managed to be more influential and memorable than Studio 54. And those memories — of over-the-top art installations, decadent after-hours antics and the famous and fabulous — are all collected by Eric and his sister Jennifer, Area’s art director, in the thick, oversize tome Area, published this month by Abrams.
Every six weeks or so, Area (which Goode started with his brother Christopher and childhood friends Shawn Hausman and Darius Azari) completely transformed itself. Themes like “Religion,” “Elements,” “Confinement,” “Sex,” “Future,” “Fashion,” “Art” and “Suburbia” went way beyond even the craziest of Halloween party décor, reimagining the 33,000 square foot space into a 3D multisensory mind trip. For the “Food” motif, Area’s pool became a giant bowl of alphabet soup. “Gnarly” had a skate ramp with skateboarders gliding by the dance floor. “Religion” included a 10-foot burning cross and a confessional booth complete with a “priest.”
If you were lucky enough to get plucked from the manic and overdressed crowd flooding the club’s entrance on Hudson Street, the first thing you saw once inside was a hall of dioramas showcasing Area’s house performers in costumes. It was like the American Museum of Freaked-out History. Gender-bender Bernard-Zette would be posed in the lounge on any given night as Jesus Christ, Jim Jones, St. Sebastian, Brooke Shields, Anne Frank or Jane Jetson, to name a few. Inside the club, there was an enormous aquarium with live sharks, and a coed bathroom that soon became a VIP room without a velvet rope or guest list.
A Clockwork Orange, 1970-71.
Barry Lyndon, 1973-75.
Full Metal Jacket, 1987.
Full Metal Jacket, 1987.
2001: A Space Odyssey, 1965-68.
Stanley Kubrick, Director, on the set of Paths of Glory, 1957.
Stanley Kubrick, Director, during the filming 2001: A Space Odyssey, 1965-68.
Carmelo Anthony of the New York Knicks reacts in the final seconds of their 95-91 win over the Atlanta Hawks at Philips Arena on November 13, 2013 in Atlanta, Georgia.
(Photo by Kevin C. Cox/Getty Images)