Posts Tagged ‘Ana Mendieta

20
May
15

Exhibition: ‘The Feminist Avant-Garde of the 1970s: Works from the SAMMLUNG VERBUND, Vienna’ at Hamburger Kunsthalle, Hamburg

Exhibition dates: 13th March – 31st May 2015

 

Early Cindy Sherman, very good; Francesca Woodman, wow; but Ana Mendieta, you are a star!

Marcus

.
Many thankx to the Hamburger Kunsthalle for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Featuring 34 international women artists, this wide-ranging exhibition highlights the early days of the feminist art movement. With over 150 major works drawn from the SAMMLUNG VERBUND in Vienna, it documents how female artists in the 1970s began collectively reshaping the “image of woman” – something that had never happened before in the history of art. During this period, increasing numbers of women who had been born during or just after the Second World War had the opportunity to study at an art school or academy, enabling them to emancipate themselves from the traditional role of artist’s muse or model. Dr Gabriele Schor, director of the SAMMLUNG VERBUND, coined the term “feminist avant-garde” to highlight the pioneering role played by these artists.

The female artists have turned to new media such as photography, film or video, due to the fact that these are not laden with art-historical baggage; others employ performance or action-based art as their chosen means of expression. Along with artists such as VALIE EXPORT, Cindy Sherman and Martha Rosler whose work is familiar to a wide audience, the exhibition also provides a rare opportunity to discover some equally accomplished but less well-known members of the “feminist avant-garde”.

 

 

VALIE EXPORT (*1940) 'Tapp und Tastkino' 1968

 

VALIE EXPORT (*1940)
Tapp und Tastkino
1968
Video, S/W, Ton
© VALIE EXPORT / VG Bild-Kunst, Bonn 2015 / Courtesy of Galerie Charim, Wien / SAMMLUNG VERBUND, Wien

 

Birgit Jürgenssen (1949-2003) 'Nest' 1979

 

Birgit Jürgenssen (1949-2003)
Nest
1979
S/W-Photographie
© Estate of Birgit Jürgenssen / Courtesy of Galerie Hubert Winter, Wien / VG Bild-Kunst, Bonn 2014/2015 / SAMMLUNG VERBUND, Wien

 

Ulrike Rosenbach (*1943)  'Art is a criminal action No. 4' 1969

 

Ulrike Rosenbach (*1943)
Art is a criminal action No. 4
1969
S/W-Photographie auf Barytpapier
© Ulrike Rosenbach / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND, Wien

 

Francesca Woodman (1958-1981) 'Untitled Rome, Italy' 1977-1978/2006

 

Francesca Woodman (1958-1981)
Untitled Rome, Italy
1977-1978/2006
S/W-Photographie auf Barytpapier
© Courtesy George and Betty Woodman, New York / SAMMLUNG VERBUND, Wien

 

 

“Featuring 34 international women artists, this wide-ranging exhibition highlights the early days of the feminist art movement. With over 150 major works drawn from the SAMMLUNG VERBUND in Vienna, it documents how female artists in the 1970s began collectively reshaping the “image of woman” – something that had never happened before in the history of art. During this period, increasing numbers of women who had been born during or just after the Second World War had the opportunity to study at an art school or academy, enabling them to emancipate themselves from the traditional role of art­ist’s muse or model. Dr Gabriele Schor, director of the SAMMLUNG VERBUND, coined the term “femi­nist avant-garde” to highlight the pioneering role played by these artists.

They went on to create works that challenged social norms and the mechanisms of the art business, developing radical new artistic practices and breaking with a male-dominated reality. Against the back­ground of the civil rights movement and the women’s movement, feminist issues emerged as a matter of public debate: the personal was now political. Within a very short period of time, women began rais­ing awareness and gaining public recognition by organising collective actions, demonstrations and in­dependent exhibitions. The artists of the “feminist avant-garde” have examined how traditional images determine the perception of women and how they construct their own personal and social identity. Their work addresses a wide range of themes, such as the relegation of women to the one-dimensional role of housewife and mother, the use of one’s own body in art, female sexuality, notions of beauty and violence against women.

The female artists undermine the stereotype roles in a subversive way. Martha Rosler, for example, us­es exaggeration and parody to criticise women’s traditionally domestic role, and Birgit Jürgenssen tied a cooker around her neck like an apron in her work Hausfrauen-Küchenschürze. By playing with the camera or employing masquerade and costumes as an effective means of self-representation, women artists have challenged conventional notions of identity or femininity and exposed these as social con­structs. Cindy Sherman, Suzy Lake, Hannah Wilke and Martha Wilson cast themselves in a variety of roles for their photographic investigations into everyday and historical clichés. In a similar way, Lynn Hershman Leeson created a fictional alter ego as “Roberta Breitmore” and enacted this character for a number of years. While accepted cultural ideals of beauty and perfection play an important role for all of the artists mentioned above, these themes are specifically and impressively addressed in the work of Rita Myers and Ewa Partum.

Numerous women artists have turned to new media such as photography, film or video, due to the fact that these are not laden with art-historical baggage; others employ performance or action-based art as their chosen means of expression. VALIE EXPORT, for example, invited passers-by on Munich’s Stachus square to visit her Tapp-und Tastkino – meaning that they could put their hands inside a box she was wearing over her naked chest. Female artists have often exploited their own bodies as art material, whereby some – such as Ana Mendieta or Gina Pane – have pushed themselves to the very limits of physical endurance. Using humour, irony, subtlety and provocation, the artists of the “feminist avantgarde” have deconstructed the traditional female iconography.

Along with artists such as VALIE EXPORT, Cindy Sherman and Martha Rosler whose work is familiar to a wide audience, the exhibition also provides a rare opportunity to discover some equally accomplished but less well-known members of the “feminist avant-garde”.

The SAMMLUNG VERBUND was founded in 2004 in Vienna by VERBUND, Austria’s leading producer of electricity from hydropower. The collection focuses on international contemporary art from 1970 to the present day, with a unique emphasis on the Feminist Avant-garde of the 1970s.

Featured artists: Helena Almeida (*1934, Portugal), Eleanor Antin (*1935, USA), Lynda Benglis (*1941, USA), Renate Bertlmann (*1943, Österreich), Teresa Burga (*1935, Peru), Lili Dujourie (*1941, Belgien), Mary Beth Edelson (*1933, USA), Renate Eisenegger (*1949, Deutschland), VALIE EXPORT (*1940, Österreich), Esther Ferrer (*1937, Spanien), Lynn Hershman-Leeson (*1941, USA), Alexis Hunter (1948-2014, Neuseeland, England), Sanja Iveković (*1949, Kroatien), Birgit Jürgenssen (1949-2003, Österreich), Ketty La Rocca (1938-1976, Italien), Leslie Labowitz (*1946, USA), Suzanne Lacy (*1945, USA), Suzy Lake (*1947, USA), Karin Mack (*1940, Österreich), Ana Mendieta (1948-1985, Kuba/USA), Rita Myers (*1947, USA), ORLAN (*1947, Frankreich), Gina Pane (1939-1990, Frankreich), Ewa Partum (*1945, Polen), Ulrike Rosenbach (*1943, Deutschland), Martha Rosler (*1943, USA), Carolee Schneemann (*1939, USA), Cindy Sherman (*1954, USA), Penny Slinger (*1947, England), Annegret Soltau (*1946, Deutschland), Hannah Wilke (1940-1993, USA), Martha Wilson (*1947, USA), Francesca Woodman (1958-1981, USA), Nil Yalter (*1938, Ägypten/Frankreich).”

Press release from the Hamburger Kunsthalle website

 

Renate Bertlmann (*1943) 'Zärtliche Pantomime' 1976

 

Renate Bertlmann (*1943)
Zärtliche Pantomime [Tender Pantomime]
1976
S/W-Photographie (aus einer 6-teiligen Serie)
© Renate Bertlmann / SAMMLUNG VERBUND, Wien

 

 Renate Eisenegger (*1949)  'Hochhaus (Nr.1)' 1974

 

Renate Eisenegger (*1949)
Hochhaus (Nr.1)
1974
S/W-Photografie auf Holz kaschiert (aus einer 4-teiligen Serie)
© Renate Eisenegger / SAMMLUNG VERBUND, Wien

 

Alexis Hunter (1948-2014) 'Approach to Fear Voyeurism' 1973

 

Alexis Hunter (1948-2014)
Approach to Fear Voyeurism
1973
Silver bromide photography, painted with colored ink (from a 12-part series)
© Alexis Hunter / Courtesy of Richard Saltoun, London / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND , Wien

 

Birgit Jürgenssen (1949-2003) 'Untitled (Self with pelts)' 1974/1977

 

Birgit Jürgenssen (1949-2003)
Ohne Titel (Selbst mit Fellchen) [Untitled (Self with pelts)]
1974/1977

 

Lynn Hershman-Leeson (*1941) 'Roberta Construction Chart #1' 1975

 

Lynn Hershman-Leeson (*1941)
Roberta Construction Chart #1
1975
C-Print
© Lynn Hershman Leeson / SAMMLUNG VERBUND, Wien

 

Ana Mendieta (1948-1985) 'Untitled (Glass on Body Imprints)' 1972/1997

 

Ana Mendieta (1948-1985)
Untitled (Glass on Body Imprints)
1972/1997
C-Print (from a 6-part series)
© The Estate Ana Mendieta / Courtesy of Galerie Lelong, New York / SAMMLUNG VERBUND, Wien

 

Ulrike Rosenbach (*1943) 'Weiblicher Energieaustausch, Venus' 1975–1976

 

Ulrike Rosenbach (*1943)
Weiblicher Energieaustausch, Venus [Female Energy Exchange, Venus]
1975-1976
S/W-Photografie auf PE Papier (aus einer 3-teiligen Serie)
© Ulrike Rosenbach / Bildrecht, Wien, 2015 / SAMMLUNG VERBUND, Wien

 

Cindy Sherman  (*1954) 'Untitled #443 (Bus Riders II)' 1976/2005

 

Cindy Sherman (*1954)
Untitled #443 (Bus Riders II)
1976/2005
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York/ SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled (Bus Riders I)' 1976/2000

 

Cindy Sherman (*1954)
Untitled (Bus Riders I)
1976/2005 (from a 15-part series)
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York/ SAMMLUNG VERBUND, Wien

 

Cindy Sherman (*1954) 'Untitled (Lucy)' 1975/2001

 

Cindy Sherman (*1954)
Untitled (Lucy)
1975/2001
Silbergelantineabzug
© Cindy Sherman, New York
Courtesy: Metro Pictures, New York / SAMMLUNG VERBUND, Wien

 

Penny Slinger (*1947) 'Wedding Invitation – 2 (Art is Just a Piece of Cake)' 1973

 

Penny Slinger (*1947)
Wedding Invitation – 2 (Art is Just a Piece of Cake)
1973
S/W-Photografie
© Penny Slinger / Courtesy of the Artist and Broadway 1602, New York / SAMMLUNG VERBUND, Wien

 

Annegret Soltau (*1946) 'Selbst' 1975

 

Annegret Soltau (*1946)
Selbst [Myself]
1975
B/W photograph on baryta paper (from a 14-part series)
© Annegret Soltau / VG Bild-Kunst, Bonn 2015 / SAMMLUNG VERBUND, Wien
Photo: Heide Kratz

 

 

Hamburger Kunsthalle
Glockengießerwall 20095 Hamburg
Tel: +49 (0)40-428 131 204

Opening hours:
Tuesdays to Sundays 10 am – 6 pm
Thursdays 10 am – 9 pm
Closed Mondays

Hamburger Kunsthalle website

LIKE ART BLART ON FACEBOOK

Back to top

03
Jul
14

Exhibition: ‘Ana Mendieta: Traces’ at the Museum der Moderne Salzburg

Exhibition dates: 29th March – 6th July 2014

 

If I had half of this artists courage, I might not even have a quarter of her talent.

Marcus

.
Many thankx to the Museum der Moderne Salzburg for allowing me to publish the photographs and text in the posting. Please click on the photographs for a larger version of the image.

View the catalogue essays Ana Mendieta: Traces by Stephanie Rosenthal and Embers by Adrian Heathfield (2.66Mb pdf)

 

 

“Art is a material act of culture, but its greatest value is its spiritual role, and that influences society, because it’s the greatest contribution to the intellectual and moral development of humanity that can be made”

“My art is grounded on the belief in one universal energy which runs through everything; from insect to man, from man to spectre, from spectre to plant, from plant to galaxy.”

“To me, the work has existed on different levels. It existed on the level of being in nature and eventually being eroded away. But obviously when it’s shown to someone as a photograph, that’s what it is.”

.
Ana Mendieta

 

The few women working with the body at that time were in instant affinity with each other… The struggle for all of us was to keep the sensuousness of the body and to de-eroticize it in terms of cultural expectations. It was gratifying and exciting to discover her work. Those of us who had already been situating the body as central to our visual aesthetic could also anticipate the resistance that would be around her.

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. More than Ana dies, when she dies.”

.
Carolee Schneeman quoted in Camhi, Leslie. “ART; Her Body, Herself,” on the New York Times website published June 20, 2004 [Online] Cited 20/06/2014

 

“You do feel the sadness that she’s not with us and you wonder where she would have gone with her work.”

.
Raquelin
 Mendieta

 

 

Ana Mendieta. 'Untitled (Facial Cosmetic Variations)' (detail) 1972

 

Ana Mendieta
Untitled (Facial Cosmetic Variations)
(detail)
1972
Suite of eight color photographs (estate prints, 1997)
Each 50.8 x 40.6 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Untitled (Facial Hair Transplant)' 1972

 

Ana Mendieta
Untitled (Facial Hair Transplant)
1972
Suite of seven colour photographs, estate prints 1997
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Rape' 1973

 

Ana Mendieta
Rape
1973
Color photograph (lifetime print)
20.4 x 25.4 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Rape Scene' 1973

 

Ana Mendieta
Rape Scene
1973
Color photograph (lifetime print)
39.8 x 31 x 3.2 cm (framed)
Tate: Presented by the American Patrons of Tate, courtesy of the Latin American Acquisitions Committee 2010

 

Rape Scene (1973) was part of series of works devised in response to the rape and murder of a fellow student on the Iowa University campus, where Mendieta completed her BA, MA (painting) and an MFA (inter-media). She invited friends and fellow students to her apartment. The viewer entered through a slightly ajar door into a dark apartment into a room where the artist appeared under a single source of light revealing Mendieta stripped from the waist down. The artist stood slouched and bound over a table, nude from the waist down with her body smeared in blood. Around her was an assemblage of broken plates and blood on the floor. Her direct identification with a specific victim meant that she could not be seen as an anonymous object in a theatrical tableau.

 

Ana Mendieta. 'Untitled (Self-Portrait with Blood)' (detail) 1973

 

Ana Mendieta
Untitled (Self-Portrait with Blood)
(detail)
1973
Suite of six color photographs (estate prints 1997)
Each 50.8 x 40.6 cm
Private collection, London; Courtesy Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled (Body Tracks)' 1974

 

Ana Mendieta
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

 

Ana Mendieta. 'Untitled (Glass on Body Imprints)' 1972

 

Ana Mendieta
Untitled (Glass on Body Imprints)
1972
Suite of six colour photographs, estate prints
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled' 1973

 

Ana Mendieta
Untitled
1973
Lifetime colour photograph
Collection Walker Art Center, Minneapolis, T. B. Walker Acquisition Fund, 2011
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Blood and Feathers #2' 1974

 

Ana Mendieta
Blood and Feathers #2
1974
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. 'Imagen de Yagul' 1973

 

Ana Mendieta
Imagen de Yagul
1973
Lifetime colour photograph
Glenstone
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

 

“Ana Mendieta: Traces is the first comprehensive survey of this influential artist’s work to be presented in Great Britain or the German-speaking world. It persuasively demonstrates that her art, while very much rooted in the concerns of her day, maintains a powerful connection to our present moment. Born in Cuba in 1948, Mendieta was forced to immigrate to the United States as a child due to her father’s political situation, and much of her work is obliquely haunted by the exile’s sense of displacement, while also reflecting her position as a double minority in North America’s largely white, male art world of the 1970s and 1980s. From the beginning, motifs of transience, absence, violence, belonging, and an identity in flux animated her multidisciplinary art, which ranged nomadically across practices associated with body art, land art, performance, sculpture, photography and film. At its core lay her recurring use of her own body – its physical and photographic traces – and her interest in marginal outdoor sites and elemental materials.

Spanning her brief, yet remarkably productive, career, this exhibition explores the many distinct facets of her practice. It captures her powerfully visceral evocation of ritual and sacrifice, as well as cycles of life and decay, while also highlighting her pioneering role as a conceptual border-crosser. Including photographs, drawings, sculptures, Super-8 films and a substantial selection of photographic slides, most of which have not been exhibited until now, Ana Mendieta: Traces reveals an artist whose underlying concerns led her to bravely re-work and re-combine genres, to draw on different cultures, both archaic and contemporary, while challenging the limits of the art discourse of her time. Her work continues to profoundly challenge, disturb, influence and inspire.

The Museum der Moderne Salzburg will open an extensive retrospective of the work of Ana Mendieta, one of our era’s most important and influential artists. Mendieta was born to a politically active family in Havana, Cuba in 1948. In the wake of the Cuban revolution, when she was only twelve years old, her parents sent her together with her sister to the United States. In 1985, at just thirty-six years old, she died under tragic circumstance in New York. During her short yet prolific career, she developed a unique visual language that is mesmerizing in its intimacy, and equally challenging. Her pioneering work has been acknowledged by large retrospectives in the United States and Europe, and is represented in the collections of major museums.

According to Sabine Breitwieser, director at the Museum der Moderne Salzburg, who has arranged the exhibition, “a comprehensive exhibition in the German-speaking area, especially in Austria, and the German monograph on Ana Mendieta are long overdue. The artist’s distinctive work, in which she stages her body within the landscape, seems to be ideally exhibited at this site, where nature and the theatrical take on such a major role. Due to the fragility of the work, this could possibly be one of the last extensive Mendieta exhibitions.”

Among the central themes in Mendieta’s artistic work are exile and cultural displacement. In her search for identity and finding her place in the world, she attempted to create a dialogue between the landscape and the female body. Her work reveals numerous points of contingency with the emerging art movements of the 1960s and 1970s – Conceptual art, land art, and performance art. Nonetheless, it refuses any kind of categorization and instead addresses missing links or gaps between different media and art forms. “Through my art I want to express the immediacy of life and the eternity of nature,” wrote Mendieta in 1981. Using her own body and elementary materials, such as blood, fire, earth, and water, she created transitory pieces that combine rituals with metaphors for life, death, rebirth, and spiritual transformation. Her disembodied “earth body” sculptures were private, meditative ceremonies in nature documented in the form of slides and films. From them, Mendieta developed the so-called Siluetas (silhouettes), which form the core of her work. In the 1980s, Mendieta’s body disappeared from her artworks and she started to generate indoor works for galleries. Her engagement with nature continued in her sculptures and drawings, which she created as lasting works.

The exhibition presents roughly 150 works, which are organized throughout twelve spaces; two of these spaces are reconstructions of the original exhibitions by the artist. The works shown are in a multitude of media ranging from photography, film, and sculpture through to drawing. A further section will present the artist’s archive. Slides and photographs, notebooks and postcards offer insight into Mendieta’s working methods. The concern of Stephanie Rosenthal, chief curator of the Hayward Gallery London, is “to show Ana Mendieta’s outstanding work in all of its facets, and to place her artistic process at the center.”

While the artistic media that Mendieta utilizes in her works could not be any more diverse, the pictures that she produces are characterized by an unmistakable, overwhelming and mystical poetry. This exhibition makes clear that almost thirty years after the artist’s premature death, her work has lost none of its singularity and uniqueness.”

Text from the Museum der Moderne Salzburg website

 

Ana Mendieta. 'Untitled (Silueta Series)' 1978

 

Ana Mendieta
Untitled (Silueta Series)
1978
Gelatin silver print
20.3 x 25.4 cm
Solomon R. Guggenheim Museum

 

Ana Mendieta. 'Alma, Silueta en Fuego' (Soul, Silhouette on Fire) (still) 1975

 

Ana Mendieta
Alma, Silueta en Fuego (
Soul, Silhouette on Fire) (still)
1975
Super-8 color, silent film transferred to DVD
3:07 minutes
The Estate of Ana Mendieta Collection; Courtesy Galerie Lelong, New York and Paris, and Alison Jacques Gallery, London

 

Ana Mendieta. 'Anima, Silueta de Cohetes (Firework Piece)' (still) 1976

 

Ana Mendieta
Anima, Silueta de Cohetes (Firework Piece)
(still)
1976
(Soul, Silhouette of Fireworks)
Super-8 color, silent film transferred to DVD
2:22 minutes
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Untitled (Cuilapán Niche)' 1973

 

Ana Mendieta
Untitled (Cuilapán Niche)
1973
Black-and-white photograph (lifetime print)
25.4 x 20.4 cm
Private collection, London; Courtesy Gallery 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 Times in 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 Post website February 4, 2014 [Online] Cited 30/06/2014

 

Ana Mendieta. 'Untitled' 1976 "Silueta Series, Mexico"

 

Ana Mendieta
Untitled
1976
“Silueta Series, Mexico”
Color photograph (lifetime print)
39.8 x 31 x 3.2 cm (framed)
Tate: Presented by the American Patrons of Tate, courtesy of the Latin American Acquisitions Committee 2010

 

Mendieta formed a silueta on the beach at La Ventosa, Mexico, filling it with red tempera that was ultimately washed away by the ocean waves. The artist documented the obliteration of the figure by the tide in a sequence of 35 mm slides.

 

Ana Mendieta. 'Tree of Life' 1976

 

Ana Mendieta
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. 'Untitled' 1978 "Silueta Series, Iowa"

 

Ana Mendieta
Untitled
1978
“Silueta Series, Iowa”
Color photograph (lifetime print)
25.4 x 20.3 cm
The Estate of Ana Mendieta Collection; courtesy Galerie Lelong, New York and Paris

 

Ana Mendieta. 'Itiba Cahubaba (Esculturas Rupestres)' [Old Mother Blood (Rupestrian Sculptures)] 1982

 

Ana Mendieta
Itiba Cahubaba (Esculturas Rupestres) [Old Mother Blood (Rupestrian Sculptures)]
1982
Black-and-white photograph, box mounted, exhibition copy
Collection Ignacio C. Mendieta
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'Untitled' 1982

 

Ana Mendieta
Untitled
1982
Graphite on leaf of a copey tree (Clusia major)
E. Righi Collection
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta with Untitled wood sculpture, 1984-85

 

Ana Mendieta with Untitled wood sculpture, 1984-85
© The Estate of Ana Mendieta Collection, L.L.C.
Courtesy Galerie Lelong, New York and Paris and Alison Jacques Gallery, London

 

Ana Mendieta. 'El Laberinto de Venus' (Labyrinth of Venus) 1985

 

Ana Mendieta
El Laberinto de Venus (Labyrinth of Venus)
1985
Acrylic on paper
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

 

 

Museum der Moderne Mönchsberg
Mönchsberg 32
5020 Salzburg
T: +43.662.84 22 20-403

Opening hours:
Tuesday – Sunday: 10.00 am – 6.00 pm
Wednesday: 10.00 am – 8.00 pm
Monday: closed

Museum der Moderne website

LIKE ART BLART ON FACEBOOK

Back to top

24
Aug
10

Exhibition: ‘Haunted: Contemporary Photography / Video / Performance’ at Solomon R. Guggenheim Museum, New York

Exhibition dates: 26th March – 6th September 2010

 

Looks like a great exhibition – wish I was there to see it!

.
Many thankx to Claire Laporte and the Solomon R. Guggenheim Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

 

Adam Helms. 'Untitled Portrait (Santa Fe Trail)' 2007

 

Adam Helms (American, b. 1974)
Untitled Portrait (Santa Fe Trail)
2007
Double-sided screenprint on paper vellum edition 2/2
101.3 x 65.7 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee 2007.131

 

Idris Khan. 'Homage to Bernd Becher' 2007

 

Idris Khan (British, b. 1978)
Homage to Bernd Becher
2007
Bromide print edition 1/6
49.8 x 39.7 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee 2007.132

 

Bernd and Hilla Becher. 'Water Towers' 1980

 

Bernd and Hilla Becher
Water Towers
1980
Nine gelatin silver prints
155.6 x 125.1 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by Mr. and Mrs. Donald Jonas

 

Andy Warhol. 'Orange Disaster #5' 1963

 

Andy Warhol (American, 1928-1987)
Orange Disaster #5
1963
Acrylic and silkscreen enamel on canvas
269.2 x 207 cm
Solomon R. Guggenheim Museum, New York, Gift, Harry N. Abrams Family Collection 74.2118

 

Joan Jonas. 'Mirror Piece I' 1969

 

Joan Jonas (American, b. 1936)
Mirror Piece I
1969
Chromogenic print
101 x 55.6 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee

 

Zhang Huan. '12 Square Meters' 1994

 

Zhang Huan (Chinese, b. 1965)
12 Square Meters
1994
Chromogenic print A.P. 3/5, edition of 15
149.9 x 99.7 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by Manuel de Santaren and Jennifer and David Stockman

 

 

Much of contemporary photography and video seems haunted by the past, by the history of art, by apparitions that are reanimated in reproductive mediums, live performance, and the virtual world. By using dated, passé, or quasi-extinct stylistic devices, subject matter, and technologies, such art embodies a longing for an otherwise unrecuperable past.

From March 26 to September 6, 2010, the Solomon R. Guggenheim Museum presents Haunted: Contemporary Photography/Video/Performance, an exhibition that documents this obsession, examining myriad ways photographic imagery is incorporated into recent practice. Drawn largely from the Guggenheim’s extensive photography and video collections, Haunted features some 100 works by nearly 60 artists, including many recent acquisitions that will be on view at the museum for the first time. The exhibition is installed throughout the rotunda and its spiralling ramps, with two additional galleries on view from June 4 to September 1, featuring works by two pairs of artists to complete Haunted’s presentation.

The works in Haunted: Contemporary Photography/Video/Performance range from individual photographs and photographic series to sculptures and paintings that incorporate photographic elements; projected videos; films; performances; and site-specific installations, including a new sound work created by Susan Philips for the museum’s rotunda. While the show traces the extensive incorporation of photography into contemporary art since the 1960s, a significant part of the exhibition will be dedicated to work created since 2001 by younger artists.

Haunted is organised around a series of formal and conceptual threads that weave themselves through the artworks on view:

 

Appropriation and the Archive

In the early 1960s, Robert Rauschenberg and Andy Warhol began to incorporate photographic images into their paintings, establishing a new mode of visual production that relied not on the then-dominant tradition of gestural abstraction but rather on mechanical processes such as screenprinting. In so doing, they challenged the notion of art as the expression of a singular, heroic author, recasting their works as repositories for autobiographical, cultural, and historical information. This archival impulse revolutionised art production over the ensuing decades, paving the way for a conceptually driven use of photography as a means of absorbing the world at large into a new aesthetic realm. Since then, a number of artists, including Bernd and Hilla Becher, Sarah Charlesworth, Douglas Gordon, Luis Jacob, Sherrie Levine, Richard Prince, Cindy Sherman, and Sara VanDerBeek, have pursued this archival impulse, amassing fragments of reality either by creating new photographs or by appropriating existing ones. (…)

 

Sophie Calle. 'Father Mother (The Graves, #17)' 1990

 

Sophie Calle (French, b. 1953)
Father Mother (The Graves, #17)
1990
Two gelatin silver prints in artist’s frames edition 2/2
181.0 x 111.1 cm each
Solomon R. Guggenheim Museum, New York, Gift, The Bohen Foundation

 

Ana Mendieta. 'Untitled (Silueta Series)' 1978

 

Ana Mendieta (Cuban American, 1948-1985)
Untitled (Silueta series)
1978
Gelatin silver print
20.3 x 25.4 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee

 

Anne Collier. 'Crying' 2005

 

Anne Collier (American, b. 1970)
Crying
2005
Chromogenic print edition 1/5
99.1 x 134 x 0.6 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by Mr. and Mrs. Aaron M. Tighe

 

 

Landscape, Architecture, and the Passage of Time

Historically, one of photography’s primary functions has been to document sites where significant, often traumatic events have taken place. During the Civil War, which erupted not long after the medium was invented, a new generation of reporters sought to photograph battles, but due to the long exposure times required by early cameras, they could only capture the aftermath of the conflicts. These landscapes, strewn with the dead, now seem doubly arresting, for they capture past spaces where something has already occurred. Their state of anteriority, witnessed at such an early stage in the medium’s development, speaks to the very nature of a photograph, which possesses physical and chemical bonds to a past that disappears as soon as it is taken. As viewers, we are left with only traces from which we hope to reconstruct the absent occurrences in the fields, forests, homes, and offices depicted in the works in the exhibition. With this condition in mind, many artists, among them James Casebere, Spencer Finch, Ori Gersht, Roni Horn, Luisa Lambri, An-My Lê, Sally Mann, and Hiroshi Sugimoto, have turned to empty spaces in landscape and architecture, creating poetic reflections on time’s inexorable passing and insisting on the importance of remembrance and memorialisation.

 

Documentation and Reiteration

Since at least the early 1970s, photographic documentation, including film and video, has served as an important complement to the art of live performance, often setting the conditions by which performances are staged and sometimes obviating the need for a live audience altogether. Through an ironic reversal, artworks that revolved around singular moments in time have often come to rely on the permanence of images to transmit their meaning and sometimes even the very fact of their existence. For many artists, these documents take on the function of relics-objects whose meaning is deeply bound to an experience that is always already lost in the past. Works by artists such as Marina Abramović, Christian Boltanski, Sophie Calle, Tacita Dean, Joan Jonas, Christian Marclay, Robert Mapplethorpe, Ana Mendieta, and Gina Pane examine various aesthetic approaches inspired by the reiterative power of the photograph. Using photography not only to restage their own (and others’) performances but to revisit the bodily experience of past events, these artists have reconsidered the document itself as an object embedded in time, closely attending to its material specificity in their works.

 

Trauma and the Uncanny

When Andy Warhol created his silkscreen paintings of Marilyn Monroe in the wake of her death, he touched on the darker side of a burgeoning media culture that, during the Vietnam War, became an integral part of everyday life. Today, with vastly expanded channels for the propagation of images, events as varied as the terrorist attack on the World Trade Center and the deaths of celebrities such as Princess Diana and Michael Jackson have the ability to become traumatic on a global scale. Many artists, including Adam Helms, Nate Lowman, Adam McEwen, Cady Noland, and Anri Sala, have reexamined the strategy of image appropriation Warhol pioneered, attending closely to the ways political conflict can take on global significance. At the same time, photography has altered, or as some theorists argue, completely reconfigured our sense of personal memory. From birth to death, all aspects of our lives are reconstituted as images alongside our own experience of them. This repetition, which is mirrored in the very technology of the photographic medium, effectively produces an alternate reality in representation that, especially when coping with traumatic events, can take on the force of the uncanny. Artists such as Stan Douglas, Anthony Goicolea, Sarah Anne Johnson, Jeff Wall, and Gillian Wearing exploit this effect, constructing fictional scenarios in which the pains and pleasures of personal experience return with eerie and foreboding qualities.”

Press release from the Solomon R. Guggenheim Museum website [Online] Cited 22/08/2010 no longer available online

 

James Casebere. 'Garage' 2003

 

James Casebere (American, b. 1953)
Garage
2003
Chromogenic print, face-mounted to acrylic edition 2/5
181.6 x 223.5 cm
Solomon R. Guggenheim Museum, New York, Anonymous gift, 2005.1

 

Miranda Lichtenstein. 'Floater' 2004

 

Miranda Lichtenstein (American, b. 1969)
Floater
2004
Chromogenic print edition 5/5
104.1 x 127 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by the Photography Committee

 

Sarah Anne Johnson. 'Morning Meeting (from Tree Planting)' 2003

 

Sarah Anne Johnson (Canadian, b. 1976)
Morning Meeting (from Tree Planting)
2003
Chromogenic print edition ½
73.7 x 79.7 cm
Solomon R. Guggenheim Museum, New York, Purchased with funds contributed by Pamela and Arthur Sanders; the Harriett Ames
Charitable Trust; Henry Buhl; the Heather and Tony Podesta Collection; Ann and Mel Schaffer; Shelley Harrison; and the Photography Committee

 

Sally Mann. 'Virginia' from the 'Mother Land' series 1992

 

Sally Mann (American, b. 1951)
Virginia from the Mother Land series
1992
Gelatin silver print
76.2 x 96.5 cm
Solomon R. Guggenheim Museum, New York, Gift, The Bohen Foundation

 

 

Solomon R. Guggenheim Museum
1071 5th Avenue (at 89th Street)
New York

Opening hours:
Monday 10am – 5.30pm
Tuesday 10am – 8pm
Wednesday – Friday 10am – 5.30pm
Saturday 10am – 8pm
Sunday 10am – 5.30pm

Solomon R. Guggenheim Museum website

LIKE ART BLART ON FACEBOOK

Back to top




Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

If you would like to unsubscribe from the email list please email me at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Join 2,688 other followers

If you would like to unsubscribe from the email list please email Marcus at bunyanth@netspace.net.au and I will remove you asap. Thank you.

Follow Art_Blart on Twitter
Art Blart on Pinterest

Recent Posts

Lastest tweets

October 2020
M T W T F S S
 1234
567891011
12131415161718
19202122232425
262728293031  

Archives

Categories