feminist artIn 1978 Ana Mendieta joined Artists in Residence Inc (A.I.R. Gallery), the first gallery for women in the United States. With A.I.R.'s openness to experimental, ephemeral and often practically unsaleable artwork, the performative nature of Mendieta's self-named "earth鈥揵ody"...
This article examines a 1981 project by Cuban-born artist Ana Mendieta for the feminist art journal Heresies. In this project she combines a photograph of one of her own earthworks with her translation of the nineteenth-century Cuban legend The Venus Negra. By investigating this legend in the ...
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different readings points to its richness, essentialism still remains a scare term, despite feminist literature from the 1980s and 1990s. This article considers Mendieta's Silueta series in the light of this reconsideration of essentialism... S Best - 《Art History》 被引量: 8发表: 2007年 Exil...
Between the potential to and the potential not to, according to Giorgio Agamben, there is a process of a creative (poetic) act, as an act of resistance towards the end of one's own completion, in this context analyzed through the work of feminist artist Ana Mendieta. Regardi...
It was then, after embarking upon my own research, that I learned of Mendieta's heritage, the era of feminist art from which she emerged, and her untimely death and doomed marriage to sculptor Carl Andre麓 , who was tried and ultimately acquitted of her murder.I was entranced with ...
Deriving this alternate concept of the cut from Ana Mendieta's moving image work, I examine Sweating Blood (1973) as it couples the cut with an aesthetic violence, producing a version of the cut that contributes to a feminist discourse on filmic manipulation, intermedia...
Before her death at the age of thirty-seven in New York, Mendieta had a brief yet prolific career in environmental, performance, and installation art, photography, video, and sculpture. She emerged as an artist in the 1970s during which she embraced t...
While the capacity of Mendieta's work to sustain these different readings points to its richness, essentialism still remains a scare term, despite feminist literature from the 1980s and 1990s. This article considers Mendieta's Silueta series in the light of this reconsideration of essentialism....
I recognize the potential of ecofeminism, and explore the ways it informed Mendieta's practice. Yet, drawing on decolonial feminist theory, I argue that a global South context and the "coloniality of [her] being" (Maldonaldo-Torres 2007) shifted Mendieta's engagement with the...