- Where Is Ana Mendieta? Identity, Performativity, and Exile (1999)By Jane Blocker
- Ana Mendieta: Earth Body (2004)By Olga Viso
- Covered in Time and History: The Films of Ana Mendieta (2015)By Howard Oransky
- Ana Mendieta: Traces (2014)Our PickBy Julia Bryan-Wilson
- Ana Mendieta (2001)Our PickBy Raquelin Mendieta, et al.
Important Art by Ana Mendieta
In 1972, Mendieta recruited a fellow Iowa University student to help her create Untitled (Facial Hair Transplant). Mendieta asked the student to trim his beard so that she could collect the trimmings and then carefully glue them onto her own face - a process that was fully documented. The resulting photographs can be situated in the artist's early stream of body alteration pieces, which also includes a series of images in which she distorted her body parts by smashing them into panes of glass and another series in which she transformed her appearance using makeup and wigs. Untitled (Facial Hair Transplant) is a blatant manipulation that evinces the artist's interest in the fluidity of her body and its gender identification.
The subversive self-portrait distorts notions of beauty while calling gender constructs into question. The applied mustache is unsettlingly convincing, and the piece is lent even more power due to its curiously indeterminate nature. Mendieta unapologetically shows viewers the process of her transformation and is intentional in her effort to upset gender expectations. This piece also highlights Mendieta's curiosity with organic materials such as hair, a material that is both growing and dead, very much our own and yet easily severed from our bodies.
A few years into her studies at the University of Iowa, while Mendieta was enrolled in Hans Breder's Intermedia Art course, a fellow student named Sara Ann Ottens was brutally raped and killed. In response to the incident, and as a vehicle to express the horror of male sexual violence, Mendieta staged a poignant and shocking performance.
She invited students and professors to stop by her apartment at a given time. As soon as the unsuspecting visitors walked through her door, they encountered Mendieta's bloody, naked form tied to the living room table. Mendieta had carefully recreated the scene of Ottens' murder as was reported by the police. Years later, Mendieta recalled that her audience "all sat down, and started talking about it" while she "stayed in position about an hour." The interaction between artist and attendees became a cathartic way for the community to dialogue and process the horror that had happened in its midst - an example of performance art's ability to compel participation within the viewer as part of the overall experience.
The existing documentation of this piece is a harsh one: a jolting photograph showcasing the disheveled apartment, a battered wooden table and the artist's body, bent at a right angle and covered in blood dripping down her bare legs. With this piece Mendieta started to realize the power of her own body as both subject and object in her artwork, a revelation that allowed her to evocatively denounce sexual abuse and violence.
Later that same year, Mendieta worked with blood as her primary material once again. In Untitled (People Looking at Blood, Moffit), she spread animal blood and viscera on the sidewalk outside her house, so that it looked to passersby as if the blood were leaking out from under her closed doorway. Incognito and across the street, the artist then surreptitiously captured people as they walked by the macabre pool of gore, most of whom spared it no more than a passing glance. The resulting images are a series of slides and a Super-8 film that document these strangers' detachment to violence.
Much of Mendieta's career has been obscured by her death, and this piece in particular is tempting to read through the lens of her terrible demise. The mysterious circumstances of Mendieta's death pose the possibility that she was victim of domestic abuse that might've gone as unaddressed as the stream of blood in this image. It is not enough, however, to consider this piece as a mere omen of what was to come for Mendieta. People Looking at Blood, Moffitt was an innovative and incendiary film that revealed our readiness to ignore everyday signs of violence - a common thread in Mendieta's oeuvre in which she persistently tried to get people to see "other bodies" as their own. Her empathy toward the disenfranchised, minority, orphaned, abused, violated, and simply different was something she strived to convey through works such as this.