kusama pyjamas
Titled for Yayoi Kusama, who is the cat's pyjamas.
Ana Mendieta
love her + moustache envy
(Source: damned-heathen, via elongate)
Who Is Ana Mendieta? is an iconoclastic cultural biography of a Cuban American feminist artist in an era on the cusp of rebellion and regression.
Jackson Pollack careens into a tree, killing his lover and himself; Frida Kahlo begins to be received as a significant painter, not only the muse of Diego Rivera; William Burroughs plays William Tell with an apple on his wife’s head; Carolee Schneemann pulls a feminist screed out of her vagina and reads it aloud in performance; Valerie Solanas shoots Andy Warhol. Ana Mendieta, whose bold work about the female body and violence was changing the course of art history, “went out the window” of the New York City apartment she shared with her husband, sculptor Carl Andre, at the height of her career. Andre was tried and acquitted of her murder, and the legacy of Mendieta has been shrouded ever since.
via Who Is Ana Mendieta? | The Feminist Press
Torn between being glad of recognition for Mendieta in a popular history series, and the focus on the circumstances of her death vs. the artistic work of her life, which addressed themes of sexuality and death anyway.
(boystown)
joan snyder, angry/woman, 2005
perfect for what jon like to call my “tumblr of feminist violence.”
I would follow a tumblr of feminist violence* **
*in which I refer to an imagined Art Against Patriarchy tumblr of awesomeness, not the history of pile-ons against minority women by feminist bloggers.
** In which I imagine that Ana Mendieta is still alive and Has Performance on the construction of violence within blog cultures of Western Liberal Empathic Consumption. Because she would.
![Ana Mendieta: Earth Body, Sculpture and Performance 1972-85 sensitively reflects on the art work, life, and legacy of Ana Mendi
The Siluetas (silhouettes) are Mendieta’s most recognized works due in part to the recent inclusion of Imagen de Yagul (Image from Yagul), 1973 in Survey texts like Gardner’s marking the paradigmatic beginning of Mendieta’s impactful Silueta Series.[7] It is one of the smaller works represented in the exhibition but it clearly marks a formative transition in Mendieta’s art which leads to a more solid focus on the female body and the earth which rests outside of an urban social context. This work is a photograph taken of Mendieta lying nude in a pre-Hispanic tomb, at the Mesoamerican site of Yagul, covered in a spray of white flowers. Variations on the Siluetas developed over time as Mendieta wrapped her body in a white sheet for Untitled, 1975 at Cuilapan Church in Oaxaca, Mexico, allowing the ghostly form of her contorted figure to protrude from the tightly pulled fabric.](http://25.media.tumblr.com/tumblr_kvq3i5GyTh1qaqhqdo1_250.jpg)
The Siluetas (silhouettes) are Mendieta’s most recognized works due in part to the recent inclusion of Imagen de Yagul (Image from Yagul), 1973 in Survey texts like Gardner’s marking the paradigmatic beginning of Mendieta’s impactful Silueta Series.[7] It is one of the smaller works represented in the exhibition but it clearly marks a formative transition in Mendieta’s art which leads to a more solid focus on the female body and the earth which rests outside of an urban social context. This work is a photograph taken of Mendieta lying nude in a pre-Hispanic tomb, at the Mesoamerican site of Yagul, covered in a spray of white flowers. Variations on the Siluetas developed over time as Mendieta wrapped her body in a white sheet for Untitled, 1975 at Cuilapan Church in Oaxaca, Mexico, allowing the ghostly form of her contorted figure to protrude from the tightly pulled fabric.
