Where Is Ana Mendieta?

Blocker, Jane

doi:10.1515/9780822398967

Cited by 5 publications

(2 citation statements)

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“…96 Yet as Blocker has noted, because Mendieta's 'notion of earth' also 'exceeds all national boundaries', the artist's work contributes to 'foregrounding the deracination of Latin American culture', and, in so doing, 'deconstructs the purity of dominant Western identities […] secured by the constant representation of the subaltern as troubled victim'. 97 Finally and most generally, because the 2014-17 protests included groundcentric actions that took place both inside and outside museums (for instance, at Dia:Beacon and the Geffen Contemporary), and because several of the actions occurred in threshold spaces between inside and outside, the protests cast a spotlight on a fundamental distinction between ground and floor. Namely, whereas the ground is often associated with the outside world -be it the earth itself or a human-made covering of this surface, such as cement pavement or an asphalt road -the floor is typically a surface inside buildings or other structures from the built environment, an interior element that provides a mediating layer between a spectator's feet and the ground underneath a structure's foundation.…”

Section: -17mentioning

confidence: 99%

Planes of Immanence: Walking on Carl Andre's Art in Moments of Protest

Tymkiw¹

2021

Art History

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This essay examines the stakes of walking on Carl Andre's sculptures during moments of protest, particularly from the 1990s onward, when his art became the target of feminist protest actions. Walking on Andre's sculptures has often been framed in highly generalized terms, as an almost universally shared experience that prompts an immanent connection between body and matter. To open up a space for addressing the diverse, subjective nature of spectators' experiences when walking on Andre's art, the present study explores how his metal planes have functioned as ‘planes of immanence’, a term drawn from the writings of Gilles Deleuze and Félix Guattari. In particular, it considers how the act of treading on Andre's sculptures during moments of protest has contributed to reshaping his planes of immanence, transforming them into surfaces that create new ‘lines of flight’ for contesting power, meaning, and the parameters of knowledge.

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Section: -17mentioning

confidence: 99%

Planes of Immanence: Walking on Carl Andre's Art in Moments of Protest

Tymkiw¹

2021

Art History

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“…In the performance of Bad Man, it is the "me" and the "not me" in the moment of the enactment and in the face of history, calling forth a historical construction of the self, that facilitates a particular desire in the moment of the social engagement. Or, referencing the work of performance artist Ana Mendieta, Jane Blocker (1999) states the following:…”

Section: Passing As Cultural Performancementioning

confidence: 99%

Passing, Cultural Performance, and Individual Agency: Performative Reflections on Black Masculine Identity

Alexander

2004

Cultural Studies ↔ Critical Methodologies

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This performative article uses the trope of “passing” as reference to crossing racial identity borders as well as to intra/interracial issues of identity and authenticity. Passing is constructed as a performative accomplishment and assessment by both the group claimed and the group denied. This article is structured around three divisions—passing as cultural performance, the social construction of identity, and the quest for self-definition of socially mediated expectations. All issues are centered within the specific concerns of Black masculine identity. In the process, the essay also seeks to establish the notion of an integrative ethnography of performance that envelops the critique of a performance as a part of the overall textual presentation of experience.

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Performing Diaries

Czirak¹

2017

Paragrana

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Der Aufsatz öffnet den Blick auf die globale Landkarte der Performancekunst und zeichnet Korrespondenzen zwischen Künstlerinnen und Künstlern, die in unterschiedlichen diktatorischen oder ideologisch unterdrückenden Regimen des 20. Jahrhunderts die Medialität der Performance in der Logik einer notorischen Repetition gedacht und als tagtägliches Geschäft praktiziert haben, um ihre soziale Gegenwart zu einer alternativen Zeit- und Seinsdimension auszuweiten. Mit Hilfe ihrer Persistenz auf das Wiederholen des Vergänglichen haben Song Dong aus Peking, Ana Mendieta aus Kuba und Endre Tót aus Ungarn nicht nur ungewöhnliche Tagebuchformate entworfen, sondern durch die langjährigen Reminiszenzen einer künstlerischen Beschäftigung (in Schrift, in ephemerem Bild und in Zahl) ihren Alltag auch radikal verändert.

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Where Is Ana Mendieta?

Cited by 5 publications

References 0 publications

Planes of Immanence: Walking on Carl Andre's Art in Moments of Protest

Planes of Immanence: Walking on Carl Andre's Art in Moments of Protest

Passing, Cultural Performance, and Individual Agency: Performative Reflections on Black Masculine Identity

Performing Diaries

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