But the artist’s true legacy lies elsewhere.
Mendieta synthesized and advanced emergent art forms of the early ‘70s, including performance, body art, earthworks, photography, and film. Museums and galleries around the world have explored her work in exhibitions dating back to the ‘80s and continuing to the present.
This fall, Arizona State University Art Museum is taking a different perspective and looking not only at Mendieta’s art but also at how her artistic practice has influenced contemporary artists in Energy Charge: Connecting to Ana Mendieta.
The exhibition includes an iconic selection of Mendieta’s work from 1972–1985 in conversation with new installations by Ana Teresa Fernández, Kate Gilmore, Simone Leigh, Gina Osterloh, and Antonia Wright.
Fernández, Gilmore, Leigh, Osterloh and Wright further Mendieta’s emphasis on performative process and a fluid approach to media for complex explorations of the raced and gendered body.
Their works utilize the agency of the female body, often their own bodies, in ritualistic actions and constructed environments to explore specific political issues or broader social concerns.
As in Mendieta’s work, their process is often private and later shared with audiences through video, photography, painting or installation.
Energy Charge features this work alongside a live performance series scheduled throughout the exhibition’s run.
Energy Charge: Connecting to Ana Mendieta is on view at ASU Art Museum (51 E. 10th Street, Tempe, Arizona) from September 24 to December 31, 2016.
The action could disrupt public access to the museum as workers campaign for higher wages and better labor conditions.
Over 500 scholars signed an open letter to reinstate the exhibition, which was postponed in consideration of the ongoing war in Ukraine.
This week, artist studios in the streets of Manhattan, a Texas high school, a Brooklyn apartment, and more.
Your list of must-see, fun, insightful, and very New York art events this month, including Ed Ruscha, Nina Katchadourian, Luis Camnitzer, Martha Edelheit, and more.
Join the New-York Historical Society on February 10 for a virtual conversation about our changing relationship to the natural world with Julie Decker, John Grade, and LaMont Hamilton.
Asawa’s life masks do not keep count of past or future losses.
At San Francisco’s Legion of Honor, Mobina Nouri took scissors to her own strands and invited others to do the same.
Amid a worsening inflation crisis, Sergio Guillermo Diaz’s banknote artworks are a poignant symbol of Argentinian resilience.
Theatres of Melancholy: The Neo-Romantics in Paris and Beyond highlights a group of artists who found acclaim and patronage only to fall back into obscurity.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
Jean Renoir’s newly restored 1939 classic proves that lawless wealth — then as now — makes a marvelous farce of us all.
Hamburg’s Antisemitism Commissioner disparaged photographer Adam Broomberg for his support of the BDS movement.