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	Ana Mendieta - Wikipedia, the free encyclopedia
		Ana Mendieta (18 November 1948 – 8 September 1985) was a Cuban-born American artist famous for her performance art and video works.
		Mendieta was born in Havana, Cuba but moved to America at a young age.
		Later Mendieta moved on to leaving her mark on the environment, most particularly in her silueta pieces which typically involved carving her imprint into sand or mud, making body prints or painting the her outline or silhouette onto a wall.
	en.wikipedia.org /wiki/Ana_Mendieta (290 words)

	[No title] (Site not responding. Last check: 2007-11-03)
		These women's emphasis on the female body as a realistic tool for the woman artist, challenged the male tradition of the idealized female nude; and was a precursor to the direction toward the refiguration of the body in the rest of the art community during the eighties.
		Mendieta sought to establish a "dialog between the landscape and the female body return to the maternal source." She envisioned the female body as a primal source of life and sexuality, as a symbol of the ancient paleolithic goddesses.
		Tragically, Ana Mendieta died at age thirty-six, the result of a fall from an apartment window in New York in 1985.
	www.angelfire.com /ia/tridar/ana.html (311 words)

	'Silueta' of A Woman: Sizing Up Ana Mendieta (washingtonpost.com)
		Eventually, Mendieta developed a kind of surrogate for her own presence, which she called a "silueta." It was a generic sign or icon of the supine female form, just legible as marking the contours of a human body.
		Mendieta's trips to Mexico, and her study of various Afro-Cuban rituals, are supposed to have infused her art with potent insights into her ethnic roots -- even though she was born into the well-off Cuban middle class, whose links are arguably closer to Columbus and his butchers than to the island natives they exterminated.
		Mendieta's work is, I think, best understood in terms of the peculiar traditions and preoccupations of the modern Western avant-garde, rather than in terms of distant ethnic origins, of her personal history, or of some "authentic" Latina self looking to express itself.
	www.washingtonpost.com /wp-dyn/articles/A35164-2004Oct15.html (1982 words)

	Vito Acconci and Ana Mendieta: A Relationship Study 1969-1976
		Acconci and Mendieta first met when she was a student at the University of Iowa and he was a visiting artist in residence.
		Ana Mendieta began to work on sculptures and objects, and developed a hybrid sculptural performance, in which the sculptures were animated by a transformation such as explosion and fire.
		Ana Mendieta's works are currently being displayed in several exhibitions such as Vivências/Life Experiences at the Generali Foundation, Vienna, Hypermental 1950-2000 at the Kunsthaus Zürich, and Tempus Fugit:Times Flies at the Nelson Atkins Museum, Kansas City.
	www.artincontext.org /listings/pages/exhib/x/gw4y7x0x/press.htm (561 words)

	Where Is Ana Mendieta? - Blocker, Jane - EBSCO Book Services
		Ana Mendieta, a Cuban-born artist who lived in exile in the United States, was one of the most provocative and complex personalities of the 1970s' art world.
		She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta's use of mythology and anthropology, the ephemerality of her media, and the debates over her ethnic, gender, and national identities.
		She shows how Mendieta used exile as a discursive position from which to disrupt dominant categories, analyzing as well Mendieta's use of mythology and anthropology, the ephemeral nature of her media, and the debates over her ethnic, gender, and national identities.
	www.ebscobooks.com /books/ProductDetails.asp?CatalogID=385321 (505 words)

	Ana Mendieta
		Ana Mendieta : A Retrospective by Petra Barreras Del Rio.
		Ana Mendieta and Carl Andre: duet of leaf and stone.
		Ana Mendieta was a Cuban-born performance artist who was forced to leave her homeland at age 13 due to political instability.
	www.hungryflower.com /leorem/mendieta.html (1636 words)

	OFFOFFOFF art review ANA MENDIETA: EARTH BODY / FILMWORKS AND DRAWINGS (Earth Body / Filmworks and Drawings) works by ...
		Famous for using her body like a paintbrush and the earth as a canvas, Ana Mendieta is the subject of concurrent shows at the Whitney Museum and Galerie Lelong.
		Born in Cuba, Ana Mendieta was a Pedro Pan child or political refugee.
		Ana Mendieta may have written her name on the earth in disappearing ink, but she did it so well that we can't erase it.
	www.offoffoff.com /art/2004/anamendieta.php (967 words)

	frieze (Site not responding. Last check: 2007-11-03)
		Breder (who was Mendieta’s lover and occasional artistic collaborator before her marriage to Carl Andre) promoted an interdisciplinary, process-oriented approach to art-making, and brought an array of artists involved with Conceptual and Performance art to visit, including Scott Burton and Vito Acconci.
		Iles notes in the catalogue that ‘just as Mendieta constructed each action and sculpture as a private act of meditation and dedication, she filmed each one in a way that allows it to be re-experienced.’ Camera angles, distance, framing and colour contribute to their tense poetry.
		Mendieta produced nearly 80 of these films, making her, as Iles points out, the most prolific artist-—filmmaker of the period.
	www.frieze.com /review_single.asp?r=2074 (710 words)

	Ana Mendieta at the Whitney - New York Magazine Art Review
		Mendieta is one of the modern tribe of writers, artists, and musicians who long for the spiritual power of ancient cultures, with their rituals of blood sacrifice, mortification of the body, and celebration of the earth mother.
		Unfortunately, Mendieta’s death—the sculptor Carl Andre was acquitted of the crime of pushing her from a 34th-floor window—has cast a tabloid shadow over her oeuvre.
		Mendieta was a theatrical artist, but there was nothing cheap about her longing to transcend the body.
	www.newyorkmetro.com /nymetro/arts/art/reviews/9525 (792 words)

	[No title]
		Until this time Mendieta had focused on painting and performance; the introduction of the silhouette enabled her to remove herself from the work by providing the armature for a surrogate figure.
		Mendieta continued to draw on Afro-Caribbean culture, in this case referring to the secret male religious society of Nanigo and its recognition and disavowal of women as sacred and sacrificial subjects.
		Beginning in the summer of 1978, Mendieta introduced a new series of burned silhouettes that brought to this scene of transformation the eroticism of the body and the return of the body to the earth.
	www.askart.com /AskART/artist.aspx?artist=101711&redir (1439 words)

	ArtsJournal: ARTOPIA (Site not responding. Last check: 2007-11-03)
		You can tell that Ana Mendieta (1948-1985) is about to make it into art history: her last name only is on the cover of the dramatic, blood-red catalogue that accompanies the new survey of her art now at the Whitney.
		Mendieta's art status is further confirmed by a splendid new retrospective originated by the Hirshhorn Museum in D.C., but debuting at the Whitney (945 Madison Ave.
		Mendieta's art, beginning with the Silueta series in all its manifestations and ending with the inscribed tree-trunks, seems dedicated to the Goddess of essentialist feminism, but it can also be seen as equally dedicated to the White Goddess "discovered" by Robert Graves several generations before Mendieta was around.
	www.artsjournal.com /artopia/archives20040701.shtml (2153 words)

	THE BROOKLYN RAIL - ART
		The earliest work at the Whitney dates to Mendieta’s time as a graduate student in painting at the University of Iowa where she was profoundly influenced by the dynamic avant-garde community and the rolling hills of the Iowa landscape.
		Although Mendieta appears in both projects, two of very few works in which her face is visible, she is not revealed in any traditional sense of a self-portrait.
		The combination of Mendieta’s films and photographs of her first Siluetas in Iowa inextricably connect the images of bodily traces to Mendieta’s body, not a generalized female body, but the specific body of their maker, the artist’s body that is intimate with her materials.
	www.thebrooklynrail.org /arts/sept04/mendieta.html (1816 words)

	E-Flux : ANA MENDIETA: EARTH BODY - (2004-07-01)
		Ana Mendieta: Earth Body includes more than 100 works and traces the artist's development from the early performance-based works she made as a student at the University of Iowa, where she was grounded in the conceptual and body-oriented practices of the 1960s and 1970s.
		Rooted in nature and in the body, Mendieta's art was inflected by personal identity and femininity, and distinguished by the singular hybrid form she created.
		While abnegating all forms of boundaries, Mendieta's cipher -- the naked female form that performs in the studio, merges with the landscape, is etched on a leaf, or is burned into the soil or a tree trunk -- remained at the center of her production.
	www.e-flux.com /displayshow.php?file=message_1088718110.txt (551 words)

	Mendieta Leaves An Indelible Mark (washingtonpost.com)
		Much of the art Mendieta made during her brief lifetime (1948-85) can't really be experienced at all today, at least not directly.
		Mendieta's art, which Viso places squarely in a space between the performance art of Vito Acconci and the earth art of Robert Smithson, reminds us of nothing so much as our connection to the dirt.
		The candles used in Mendieta's ritual sculpture, "Ñañigo Burial," will be remain lit from noon to 5 on Friday and Oct. 31, Nov. 5, 14, 19 and 28, Dec 2, 12, 17, 26 and 31; and from 6 to 8 on Dec. 9.
	www.washingtonpost.com /wp-dyn/articles/A51338-2004Oct21.html?sub=AR (699 words)

	ArtsEditor: news items: Ana Mendieta
		Ana Mendieta (1948-1985) was born in Havana, but came to the United States with her sister in 1961, shortly after Fidel Castro came into power.
		Despite the plan to be reunited with their parents shortly after immigration, Mendieta's father was unexpectedly imprisoned for political reasons, leading the two girls to be shuffled around various foster homes and orphanages in Iowa the rest of their childhood.
		Mendieta's relationship to Cuba and the United States has been a major factor in the way critics have viewed and understood her work.
	www.artseditor.com /html/newsitems/0505_mendieta.shtml (330 words)

	Ana Mendieta's 'disappearing' art recalled - (United Press International) (Site not responding. Last check: 2007-11-03)
		Mendieta was born of a prominent Cuban family who sent her and a sister to the United States when Ana was 12 to escape the Castro regime.
		That Mendieta's art has had an important influence on conceptual art, one of the subversive but innovative art trends of the late 20th century, cannot be disputed.
		There are also depictions of primordial blood sacrifices and mortification of the body represented by photos of performances in which Mendieta decapitates a chicken so that it spews blood on her naked body and of another performance in which she presents the bloody, abused body of a rape victim.
	www.washtimes.com /upi-breaking/20040928-113743-4712r.htm (698 words)

	Guggenheim Museum - Curriculum Online
		The photographs of Ana Mendieta document private sculptural performances enacted in the landscape to invoke and represent the spirit of renewal inspired by nature and the power of the feminine.
		An exile from Cuba, Ana Mendieta was sent from her native homeland to an orphanage in Iowa at age 12.
		Mendieta used particular positions of her body to symbolize different ideas.
	www.guggenheim.org /artscurriculum/lessons/movpics_mendieta.php (884 words)

	Haber's Art Reviews: Ana Mendieta and Phoebe Washburn
		Mendieta built her work around her own body, and she insistently identified her body with her gender—and her gender with the earth.
		One remembers that two other poles of her work are Havana, her birthplace, and the New York scene, in an era of plain imagery and performance, of the American landscape as digital terror, of the scrap heap of Richard Serra or the violence and "erotic rituals" of Marina Abramovic.
		Mendieta has become an icon in her own right, of a woman's art, a woman's history, and ethnic diversity in an unreceptive time.
	www.haberarts.com /washburn.htm (1908 words)

	[No title]
		Born in Havana, Cuba, Ana Mendieta was exiled from her native country in 1961, just before the outbreak of the Cuban Revolution.
		Ana Mendieta was born in Havana, Cuba, in 1948, and died in 1985.
		In 1997 Mendieta was the subject of a major retrospective organized by the Fundació Antoni Tàpies, Barcelona, Spain.
	www.eai.org /eai/biography.jsp?artistID=373 (393 words)

	Ana Mendieta on artnet (Site not responding. Last check: 2007-11-03)
		Ana Mendieta: The Silueta Series, Galerie Lelong, New York City; with catalogue, exhibition traveled to University of Massachusetts, Dartmouth; Wexner Center for the Arts, Columbus, Ohio.
		Ana Mendieta: A Retrospective, The New Museum of Contemp.
		Ana Mendieta, Centro Galego de Arte Contemporanea, Santiago de Compestela, published in conjunction with the traveling retrospective exhibition, with essays by: Donald Kuspit, Raquelin Mendieta, Charles Merewether, Gloria Moure, Mary Sabbatino.
	www.artnet.com /artist/11662/Ana_Mendieta.html (1235 words)

	Cultureflux Views: Missing Mendieta (Site not responding. Last check: 2007-11-03)
		I believe that it will be through Viso's exhaustive research that Mendieta's life and works will establish Mendieta firmly as one of the key innovators of modern art at the turn of the century and raise her overall stature into the rarified upper crusts of the art world.
		Mendieta was born in Havana to a prominent Cuban family and was exiled to the United States in 1961 as part of the massive Catholic Church-sponsored children exodus known as the "Peter Pan Flights." Under this program, a tragic
		With the cooperation of Mendieta's family and estate, she has been granted unprecedented access to 10,000 documentary slides and photographs, years of correspondence, personal records, and other documents related to Mendieta's evolution and development as an artist.
	www.cultureflux.com /dec_12/mendetia.html (1291 words)

	Art Journal: Ana Mendieta and Carl Andre: duet of leaf and stone
		Yours is the jewel, mine is the setting." (1) In this note, the avatar of Minimalism posits his work as the universal structure offsetting the humanity of Ana Mendieta's post-Minimalist work.
		While recognized for her early performance-based work and earth-body series Siluetas, the object-making Mendieta began in the final years of her life has been shrouded in the same obscurity as her relationship with Andre.
		Critical assessment of Mendieta's last phase of work from the 1980s has been clouded by the circumstances surrounding her violent death at age thirty-six.
	www.findarticles.com /p/articles/mi_m0425/is_3_63/ai_n6213163 (501 words)

	Ana Mendieta at the Whitney Museum of American Art / Frieze - CubaNet News - Noticias de Cuba / Cuba News
		'Ana Mendieta: Earth Body, Sculpture and Performance, 1972-1985' follows a smattering of shows and thoughtful critical re-examinations that have cropped up in recent years, and it should contribute greatly toward fostering an appreciation of Mendieta's elusive yet rigorous projects.
		The show opens with striking photographic images that document early performances in which Mendieta enacted dramatic bodily transformations - applying thick make-up, donning wigs, covering her face with a torn stocking - whose similarity to later works by Cindy Sherman has been noted by more than one critic.
		Mendieta produced nearly 80 of these films, making her, as Iles points out, the most prolific artist--filmmaker of the period.
	www.cubanet.org /CNews/y04/dec04/10e10.htm (740 words)

	Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985 (Site not responding. Last check: 2007-11-03)
		While denying all forms of boundaries, Mendieta's cipher-the naked female form that performs in the studio, merges with the landscape, is etched on a leaf or is burned into the soil or a tree trunk-remained at the center of her production.
		Throughout her career, Mendieta's cipher-the naked female form that performs in the studio, merges with the landscape, is etched on a leaf, or is burned into the soil or a tree trunk-remained Þrmly at the center of her production.
		Many of Ana's Mendieta's artworks, particularly those created at the beginning of her career as a student at the Intermedia program at the University of Iowa, remain "untitled," as the artist did not resolve the majority for public presentation or publication.
	www.tfaoi.com /aa/5aa/5aa9.htm (4061 words)

	Para Ana Mendieta (Site not responding. Last check: 2007-11-03)
		In Para Ana Mendieta, Juan Sanchez uses a photographic image of Ana Mendieta's earth-body performance from 1977.
		Mendieta sacrileges her female body and reestablishes a connection between the spiritual and the material, the human and the natural that is accentuated by Sanchez with the painted flowers and Taino petroglyphs.
		The text, coming out of a Cuban song by Pablo Milanes, expresses how Ana Mendieta's absence is a constant presence in those of us who love her.
	www.ps1.org /official/1980/anamendieta/textparaanamendieta.html (252 words)

	Current Exhibitions
		This major traveling survey is a comprehensive consideration of the Cuban-born artist Ana Mendieta’s career between 1972 and 1985.
		U.S., 1985) is celebrated for using her own body to explore issues of gender and identity, and her work has significantly influenced subsequent generations of artists.
		Installation view of Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985 at the Hirshhorn Museum.
	hirshhorn.si.edu /exhibitions/description.asp?ID=22 (193 words)

	Bookstorming.com Ana Mendieta. Earth Body , Ana Mendieta,
		The work of the influential Cuban-American artist Ana Mendieta is reassessed and presented in all of its many facets in this volume.
		This major monograph, a comprehensive reconsideration of the brief life and career of Ana Mendieta (1948-85), contextualizes the artist's work within its time and acknowledges her legacy on subsequent generations of artists.
		The Cuban-born American sculptor is celebrated for her earth-body works of the 1970s, sculptural interventions in the landscape that placed her body-or its haunting silhouette-in symbiotic relationship with nature.
	www.bookstorming.com /fiche.asp?idlivre=2147472856&page=index.asp (170 words)

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