ANA MENDIETA (1948-1985)
ANA MENDIETA (1948-1985)
ANA MENDIETA (1948-1985)
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ANA MENDIETA (1948-1985)
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The Rosa de la Cruz Collection
ANA MENDIETA (1948-1985)

Maroya (Esculturas Rupestres) [Moon (Rupestrian Sculptures)]

细节
ANA MENDIETA (1948-1985)
Maroya (Esculturas Rupestres) [Moon (Rupestrian Sculptures)]
lifetime gelatin silver print, flush-mounted on Masonite
40 ¾ x 53 ¼ in. (103.5 x 135.3 cm.)
Executed in 1981. This work is number one from an edition of three and the only lifetime print in the edition, and has been authenticated by the Estate of Ana Mendieta.
来源
Estate of Ana Mendieta, New York
Galerie Lelong, New York
Acquired from the above by the present owner, 1995
出版
B. Clearwater, ed., Ana Mendieta: A Book of Works, Miami, 1993, pp. 13, 16, and 19 (illustrated).
"The Secret of Ana Mendieta's Mystical Cave Women," ArtSpace, online, 10 February 2016 (illustrated).
C. Hernandez, "This new exhibition reframes the legacy of artist Ana Mendieta," Dazed, online, 4 October 2019 (another from the edition illustrated).
Galerie Lelong, ed., Ana Mendieta: La Tierra Habla (the Earth Speaks), New York, 2019, pp. 24 and 25 (illustrated).
T. Glista, "See Ana Mendieta's Cave Art Up Close," Paper, online, 13 November 2019 (another from the edition illustrated).
A. Santana, "Love Letter to Ana Mendieta," The Latinx Project, online, 19 December 2022 (illustrated).
展览
New York, The New Museum of Contemporary Art; Los Angeles Contemporary Exhibitions and Aspen Art Museum, November 1987- May 1990, Ana Mendieta: A Retrospective, pp. 27 and 65, no. 58 (illustrated).
Mexico City, Museo Rufino Tamayo, Ana Mendieta, March-June 2000, pp. 155 and 266, no. 81, fig. 200 (illustrated).
New York, Whitney Museum of American Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden; Des Moines Art Center and Miami Art Museum, Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985, July 2004-January 2006, pp. 89 and 274 (illustrated)
Miami, de la Cruz Collection, Selections from the de la Cruz Collection, December 2009-November 2010.
Miami, de la Cruz Collection, Selections from the de la Cruz Collection, December 2010-November 2011.
Miami, de la Cruz Collection, Selections from the de la Cruz Collection, December 2011-October 2012.
Miami, de la Cruz Collection, Selections from the de la Cruz Collection, December 2012-October 2013.
London, Hayward Gallery and Museum der Moderne Salzburg, Ana Mendieta: Traces, September 2013-July 2014, pp. 140-141 and 236 (another from the edition exhibited, illustrated).
Miami, de la Cruz Collection, Selections from the de la Cruz Collection, December 2013-November 2014.
Miami, de la Cruz Collection, Beneath the Surface, December 2014-November 2015.
Miami, de la Cruz Collection, You've Got to Know the Rules to Break Them, December 2015-November 2016.
Miami, de la Cruz Collection, Progressive Praxis, December 2016-November 2017.
Miami, de la Cruz Collection, Force and Form, December 2017-November 2018.
Miami, de la Cruz Collection, More/Less, December 2018-November 2019.
New York, Galerie Lelong & Co., Ana Mendieta: La tierra habla (The Earth Speaks), October-November 2019 (another from the edition exhibited).
Miami, de la Cruz Collection, From Day to Day, December 2019-September 2020.
Miami, de la Cruz Collection, A Possible Horizon, September 2020-November 2021.
Miami, de la Cruz Collection, There Is Always One Direction, November 2021-November 2022.
Miami, de la Cruz Collection, Together, at the Same Time, November 2022-November 2023.
Miami, de la Cruz Collection, House in Motion / New Perspectives, December 2023-March 2024.

荣誉呈献

Kathryn Widing
Kathryn Widing Vice President, Senior Specialist, Head of 21st Century Evening Sale

拍品专文

In the late 1970s, Ana Mendieta began to seriously consider returning to her native Cuba which, at age twelve, she had been forced to leave. Mendieta and her sister had been sent to the United States by their parents as part of Operation Pedro Pan, and, with no family in the country, they grew up in multiple foster homes in Iowa. This environment was so different to everything Mendieta had previously known that she carried the cultural displacement with her for the rest of her life.

As an adult, Mendieta came to believe that only by returning to her homeland could she confront her sense of dislocation, and in January of 1980, she undertook the first of seven known trips to Cuba. She travelled as part of a large group, visiting the island’s sites and making time to see her extended family. It was not until her second visit in early 1981, however, that Mendieta connected with the country’s art scene, likely using some of her time there to scout possible locations for Esculturas Rupestres, the life-sized, female figures she would go on to carve into the landscape of the Escaleras de Jaruco, a national park outside of Havana. To support the project, which commenced in July of 1981, Mendieta was awarded the prestigious John Simon Guggenheim Foundation Fellowship. Once back in Cuba, she installed herself at a small hotel in Jaruco and proceeded to identify two locations to situate her art: a cave she referred to as the “Cueva del Ágila” or eagle’s cave, and a grotto where Maroya (Esculturas Rupestres), the present work, was created.

The scale and format of the Esculturas Rupestres recall Mendieta’s earlier Siluetas Series for which the artist shaped a female figure based upon her body into the ground. As Olga Viso noted, “She had brought the siluetas, a series of ongoing earth-body works devoted to the recuperation of origins and a lost homeland, to its very source” (“The Memory of history”, in O. Viso, Ana Mendieta, Earth Body: Sculpture and Performance, 1972-1985, exh. cat., Hirshhorn Museum and Sculpture Garden, Washington D.C., 2004, p. 81). As such, the Esculturas Rupestres, including Maroya, would be among the most significant of the artist’s career.

Maroya takes its name from a goddess associated with the Taíno people’s religious pantheon. The Taíno were a historic indigenous population who lived in the Caribbean region until the mid-sixteenth century when, owing to enslavement, starvation, and diseases brought by the Spanish, they largely died out. Mendieta, who had for several years been visiting pre-Columbian sites, developed an interest in the Taíno and saw their extinction as emblematic of a “deculturation” that was still occurring and with which she identified (A. Mendieta quoted in B. Clearwater, ed., Ana Mendieta: A Book of Works, Miami Beach, 1993, p. 17). Through her art practice, Mendieta sought to grapple with this sense of cultural disconnection broadly, and the Esculturas Rupestres allowed her to forge a physical link with her heritage.

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