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Article

French

ID: <

10.4000/agedor.2575

>

·

DOI: <

10.4000/agedor.2575

>

Where these data come from
The paintings of Ana Mendieta’s body (1948-1985)

Abstract

This study looks at the frustration and identity disorder of the Cubano-US artist Ana Mendieta, who left Cuba at the age of twelve, and shows that his body, which is both the object and subject of an essentially domesticated work, is at the heart of his aesthetic device. The scenes of his body range from the performance produced at the University of Iowa, influenced by the conceptual art of the 1970s and fuelled by the demands of the feminist and multiculturalist movement, to the ritual footprints of her body made at Yagul’s Zapotec precolumbian site, leading to the secretive sculptures of las Escaleras de Jaruco in the 1980s in Havana. In addition to the codes specific to these genera worked by the artist, account must be taken of those of the documentation which gives access to his performance and Siluetas and which is part of the photography.

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