Completed just a few years before the end of her life, Ochún is the only project the artist shot on the newer medium of videotape. Denver—Dec. ), Oransky, Howard, Covered in Time and History: The Films of Ana Mendieta, University of California Press, 2015, Patrick, Vincent. The sisters were able to stay together during this time due to a power of attorney signed by their parents mandating that they not be separated. Ana Mendieta: Suspended Fire is an immersive installation featuring two films created by Cuban-American artist Ana Mendieta. [15], In 1983, Mendieta was awarded the Rome Prize from the American Academy in Rome. 1, 'There's a Devil Inside of Me', Untitled, November, 1972 (Chicken Piece, Shot #2), Raquel Cecilia Mendieta: The Films of Ana Mendieta. Gallery) in New York, which was the first gallery for women to be established in the United States. SAIC Recognized again for Excellence in Diversity. The audience was forced to reflect on its responsibility; its empathy was elicited and translated to the space of awareness in which sexual violence could be addressed. [55] The group deposited piles of animal blood and guts in front of the establishment, with protesters donning transparent tracksuits with "I Wish Ana Mendieta Was Still Alive" written on them. [35], Body Tracks (Rastros Corporales) debuted on April 8, 1982, in Franklin Furnace in New York City. Creek, 1974. However, because Mendieta's work explores many ideas including life, death, identity, and place all at once, it cannot be categorized as part of one idea or movement. [9] She earned a BA (enrolled 1969–1972) and MA in painting and an MFA (enrolled 1972–1977) in Intermedia under the instruction of acclaimed artist Hans Breder. [2] Through these works, which cross the boundaries of performance, film, and photography, Mendieta explored her relationship with a place as well as a larger relationship with mother Earth or the "Great Goddess" figure. She used it to emphasize the societal conditions by which the female body is colonized as the object of male desire and ravaged under masculine aggression. [8] When Mendieta studied English in school, her vocabulary was very limited. [7] Mendieta was first a French major and art minor, but when she transferred to the University of Iowa, she was inspired by the avant-garde community and the hills of Iowa's landscape. was held at New York University to commemorate the 25th anniversary of her death. The previously invisible, unnamed victim of rape gained an identity. Since her death, Mendieta has been recognized with international solo museum retrospectives such as "Ana Mendieta", Art Institute of Chicago (2011); and "Ana Mendieta in Context: Public and Private Work", De La Cruz Collection, Miami (2012). Kwon, Miwon. Ana Mendieta (November 18, 1948 – September 8, 1985) was a Cuban-American performance artist, sculptor, painter and video artist who is best known for her "earth-body" artwork. Mendieta and her sister Raquelin were among 14,000 children who immigrated to the United States through this program in 1961. [39], The resultant pieces of paper were preserved by the artist after the event, and appear now as works of art in their own right in the collection of the Rose Art Museum at Brandeis University. Do more. Ana Mendieta was born on November 18, 1948 in Havana, Cuba. 535 West 22nd St. 5th Floor New York, NY 10011 "[53] In 1988, Andre was tried and acquitted of her murder. By Julia Bryan-Wilson. "[15] At the same time, after two years of her involvement at A.I.R. [1] She also curated and wrote the introductory catalog essay for an exhibition at A.I.R. [27], Mendieta also created the female silhouette using nature as both her canvas and her medium. Read Full Synopsis Cast + Crew Previous Cast Members More Cast Members. "Ana Mendieta: Earth Body, Sculpture and Performance, 1972–1985." [10] In college, Mendieta's work focused on blood and violence toward women. Jacob, Mary Jane. Offers. In junior high school, she discovered a love for art. In: Catherine de Zegher (ed. Ana Mendieta. View more books. Mendieta spent as much time and thought on the creation of the photographs as she did on the sculptures themselves. "Ana Mendieta: The "Silueta" Series, 1973–1980." These ephemeral sculptures, surviving only in Mendieta’s photographs and filmworks, are a testament to the artist’s attempt to engage with the “[…] one universal energy which runs through everything: from insect to man, from man to spectre, from spectre to plant, from plant to galaxy” (Ana Mendieta, 1983). She was born into a … Ana Mendieta was born on November 18, 1948 in Havana, Cuba. Share. These silent films speak out against that crime with the language of … "Bloody Pleasures: Ana Mendieta's Violent Tableaux,". [30], In Corazon de Roca con Sangre (Rock Heart with Blood) (1975) Mendieta kneels next to an impression of her body that has been cut into the soft muddy riverbank. Mendieta's first two years in the United States consisted of constant alternation from foster homes and orphanages. Siluetas was a long-term project with over 200 silhouettes in all.Ana Mendieta photographed her silhouettes created from the earth over time, documenting their ephemerality and presence via absence. [48] In 2004 the Hirshhorn Museum and Sculpture Garden in Washington, D.C., organized "Earth Body, Sculpture and Performance", a major retrospective that travelled to the Whitney Museum of American Art, New York, Des Moines Art Center, Iowa, and Miami Art Museum, Florida (2004). Ana Mendieta, artist’s statement (1983) from ‘Ana Mendieta, A Selection of Statements and Notes,’ “’Earth from Cuba, Sand from Varadero’ A Tribute to Ana Mendieta,’ ed. From Gropius Bau , Ana Mendieta, Creek (1974) An influential artist best known for her “earth-body” performances, as she called them, Ana Mendieta explored her identity as a female emigrant in work that also encompassed photography, film, and sculpture. It is a return to the maternal source.[22]. Gallery in New York in 1979. [31], Mendieta returned to Havana, the place of her birth, for this project, but she was still exploring her sense of displacement and loss, according to Clearwater. "Ana Mendieta: The "Silueta" Series, 1973–1980." when you purchase a new Edible Arrangements movie-themed Edible Box. Courtesy of Galerie Lelong & Co. Mendieta’s childhood probably instilled this concern with impermanence and fleetingness. Howard, Christopher. Jacob attributes Mendieta's "ritualistic use of blood," and the use of gunpowder, earth, and rock to Santería's ritualistic traditions. [1], In Cuba, Mendieta grew up as a sheltered, upper-class child. Super 8 film, colour, silent. Mendieta’s art was strongly autobiographical and focused on issues surrounding identity, sexuality, spirituality, feminism, and cultural displacement. [36] A still photo from the exhibit was the cover art of the Third Woman Press edition of the feminist anthology This Bridge Called My Back: Writings by Radical Women of Color (2002, .mw-parser-output cite.citation{font-style:inherit}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-subscription,.mw-parser-output .cs1-registration{color:#555}.mw-parser-output .cs1-subscription span,.mw-parser-output .cs1-registration span{border-bottom:1px dotted;cursor:help}.mw-parser-output .cs1-ws-icon a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}.mw-parser-output code.cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;font-size:100%}.mw-parser-output .cs1-visible-error{font-size:100%}.mw-parser-output .cs1-maint{display:none;color:#33aa33;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left,.mw-parser-output .cs1-kern-wl-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right,.mw-parser-output .cs1-kern-wl-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}ISBN 0943219221), Though well known for her photographs, Mendieta's experimentations with film rose to critical acclaim on the occasion of the 2016 exhibition "Ana Mendieta: Experimental and Interactive Films" at Galerie Lelong, New York. Mendieta's corporeal presence demanded the recognition of a female subject. "A Death in the Art World.". [11] She said that she faced a great deal of discrimination in art school. ", Szymanek, Angelique. 2, 'Body Tracks', Untitled: Blood Sign No. Through the course of her career, Mendieta created work in Cuba, Mexico, Italy, and the United States. 2015, Gopnik, Blake. In, Rauch, Heidi, and Federico Suro. The Films of Ana Mendieta – Harvard Film Archive", Museum mounts first-ever full exhibit of the works of Ana Mendieta, "After More Than 30 Years, Ana Mendieta's Films Are Digitized | BLOUIN ARTINFO", VIDEO: Ana Mendieta's Niece Gets Candid About the Artist's Film Works, http://www.bildmuseet.umu.se/en/exhibition/ana-mendieta/27675, Ana Mendieta: death of an artist foretold in blood, "Greenwich Village Sculptor Acquitted of Pushing Wife to Her Death", "Artists Protest Carl Andre Retrospective With Blood Outside Dia: Chelsea", "Crying for Ana Mendieta at the Carl Andre Retrospective", "Why protesters at MOCA's Carl Andre show won't let the art world forget about Ana Mendieta", "Galerie Lelong presents 'Ana Mendieta: Experimental and Interactive Films, "Overlooked No More: Ana Mendieta, a Cuban Artist Who Pushed Boundaries", https://doi.org/10.1111/j.1467-8365.2007.00532.x. [33] The Rupestrian Sculptures that Mendieta created were also influenced by the Taíno people, "native inhabitants of the pre-Hispanic Antilles," which Mendieta became fascinated by and studied. Learn about our efforts toward supporting and building a diverse community. Art Book 12, no. The camera, documentation, and performance stops. [24] Mendieta's first use of blood to make art dates from 1972, when she performed Untitled (Death of a Chicken), for which she stood naked in front of a white wall holding a freshly decapitated chicken by its feet as its blood spattered her naked body. This obsessive act of reasserting my ties with the earth is really the reactivation of primeval beliefs ... [in] an omnipresent female force, the after image of being encompassing within the womb, is a manifestation of my thirst for being. Mendieta felt that by uniting her body with the earth sh… For a recent benefit Mendieta and Carl Andre had donated a collaborative piece. 25 Years Later - An Exhibition and Symposium, which included his film, BloodWork - The Ana Mendieta Story. Her works are generally associated with the four basic elements of nature. In March 2015, the No Wave Performance Task Force and a group of feminist poets from New York City traveled to Beacon, New York, to protest the Andre retrospective at Dia:Beacon, where they cried loudly in the main gallery, made "siluetas" in the snow on museum grounds, and stained the snow with paprika, sprinkles, and fake blood. Galerie Lelong, 1991. p. 14. Ana Mendieta, Sweating Blood (1973) Super 8 film, color, silent. The installment will be the newest addition to the DAM's cross-departmental exhibition The Light Show and will showcase remastered versions of Anima, Silueta de Cohetes (Firework Piece), 1976, and Untitled: Silueta Series, 1978. In 2016, more films were uncovered and digitized in anticipation of a documentary directed by the artist's niece, Raquel Cecilia Mendieta. The judge found Andre not guilty on grounds of reasonable doubt. Receive a $6 Movie Rental. Del Valle, Alejandro. artists remember the related events. Mendieta was born in Havana, Cuba, in 1948, and died in New York City in 1985. Galerie Lelong, 1991. p. 3. Raine, Anne. Clearwater explains how the photographs of Mendieta's sculptures were often as important as the piece they were documenting because the nature of Mendieta's work was so impermanent. Here are some well-known faces from Sundance over the years, as they brought their early movies to the festival. [1] In 1966, Mendieta was reunited with her mother and younger brother; her father joined them in 1979, having spent 18 years in a political prison in Cuba for his involvement in the Bay of Pigs invasion. ANA MENDIETA Experimental Films & Videos. Cuban-American artist Ana Mendieta made over 100 films in dialogue with her performance, sculptural, and photographic work. Hyperallergic. Ana Mendieta, “An Interview with Ana Mendieta by Linda Montano,” Sulfur, no. She made a wealth of short films following the same concepts, however also showing the ritual processes of working and becoming part of the earth. This was followed by an open letter to MOCA Director Philippe Vergne protesting the exhibit from the group the Association of Hysteric Curators.[57]. Mendieta attended an all-girls Catholic private school. Films of Ana Mendieta, with Raquel Cecilia Mendieta. February 5, 2016 – March 26, 2016", "Mirage. It was a means through which she could also express her relationship to Cuba, nature, and the spiritual realm ... [p. 14:] [In Santaria, blood] is a symbol of life ... Mendieta continued in 1973 the ritualistic use of blood ... [p. 17:] Some of Mendieta's materials can also be linked to Santeria. Born to a prominent family in Havana but exiled to the United States as a girl, Ana Mendieta (1948–1985) is regarded as one of the most significant artists of the postwar era. Ana Mendieta, Director: Parachute. Interview footage with Mendieta and her own filmed records of her earthworks and performances are incorporated to render a vivid testament to her … [28], Jacob also points out the significance of the mother figure, referring to the Mayan deity Ix Chel, the mother of the gods. The Films of Ana Mendieta Synopsis. Film works released posthumously (1985–present), Roulet, Laura. By Raquelin Mendieta, et al. "Performing Arts: Performance Art.". She then walks off screen and out of the performance space. [10] Her work was somewhat autobiographical, drawing from her history of being displaced from her natal Cuba, and focused on themes including feminism, violence, life, death, identity, place and belonging. [50] She fell 33 stories onto the roof of a deli. Photograph: The Estate of Ana Mendieta Collection, LLC. Electronic Arts Intermix. "[60] In 2010 she was the subject of Richard Move's controversial Where is Ana Mendieta? SYNOPSIS. "Rediscovering Ana Mendieta.". Ñañigo Burial (1976), with a title taken from the popular name for an Afro-Cuban religious brotherhood, is a floor installation of black candles dripping wax in the outline of the artist's body. [26][27] Professor and art historian Kaira Cabañas writes about Untitled (Rape Scene): Her body was the subject and object of the work. As a result of my participation, my vision becomes a reality and part of my experiences. In a 2001 journal article, Kat Griefen, director of A.I.R from 2006 to 2011,[18] wrote, The letter of resignation did not cite any reasons for her departure, but a number of fellow A.I.R. She dips her hands and forearms into animal blood, places her back to the camera, lifts her arms and places them on a large sheet of white paper attached to a wall, and then proceeds to slowly drag her arms down the page, until almost reaching the bottom. '", Crawford, Marisa. [52] A recording of Andre's 911 call showed him saying: "My wife is an artist, and I'm an artist, and we had a quarrel about the fact that I was more, eh, exposed to the public than she was. Her work was somewhat autobiographical, drawing from her history of being displaced from her natal Cuba, and focused on themes including feminism, violence, life, death, identity, place and belonging. Ana Mendieta: Earth Body, Sculpture and Performance 1972–1985 was organized by the Hirshhorn Museum and Sculpture Garden, Washington, D.C., in 2005 and traveled to the Whitney Museum of American Art, New York; Des Moines Art Center, Iowa; and Miami Art Museum, Florida. [7] Mendieta and her sister spent their first weeks in refugee camps before moving between several institutions and foster homes throughout Iowa. School of the Art Institute of Chicago. [47] The New Museum of Contemporary Art in New York hosted Mendieta's first survey exhibition in 1987. ¿Dónde está Ana Mendieta?" Retrieved February 12, 2015. During three years of legal proceedings,[52] Andre's lawyer described Mendieta's death as a possible accident or suicide. [56] In April 2017, protesters at an Andre retrospective handed out cards at the Geffen Contemporary with the statement: "Carl Andre is at MOCA Geffen. [7], Through the course of her career, Mendieta created work in Cuba, Mexico, Italy, and the United States. These works were the focus of most of the nearly 80 films that Mendieta created beginning in 1973 when she was a student, establishing her as one of the most prolific artists to take up the medium at this time. ", This Bridge Called My Back: Writings by Radical Women of Color, Feminist art movement in the United States, "The Life Of Forgotten Feminist Artist Ana Mendieta, As Told By Her Sister", "Ana Mendieta: death of an artist foretold in blood | Art and design", "Ana Mendieta: Earth Body, Sculpture and Performance", "Our Members – Kat Griefen « AWAD – Association of Women Art Dealers", "The expanding field: Ana Mendieta's Silueta series", Vito Acconci and Ana Mendieta – 'A Relationship Study, 1969–1976', "The Body is Present Even if in Disguise: Tracing the Trace in the Artwork of Nancy Spero and Ana Mendieta", Mendieta Exhibit Reveals Lush, Primal Power, "Ana Mendieta: Experimental and Interactive Films. The largest collection of Mendieta’s filmworks ever presented as a full-scale exhibition in the United States, the exhibition features re … She was a director and writer, known for Parachute (1973), Sweating Blood (1973) and Door Piece (1973). During her too-brief career, she produced a distinctive body of work that includes drawings, installations, performances, photographs, and … [23] She often used her naked body to explore and connect with the Earth, as seen in her piece Imagen de Yagul, from the series Silueta Works in Mexico 1973–1977. Sneed, Gillian (October 12, 2010). Art Full Text (H.W. She died on September 8, 1985 in New York City, NY, USA. This book is a representation of her films - it is not the films themselves, nor is it the Artist, who is absent. Ana Mendieta Films to be Featured at the Denver Art Museum Posted December 2nd, 2020 for Denver Art Museum two films created by the famed Cuban- Denver —Dec. All films and stills courtesy the Estate of Ana Mendieta Collection, LLC and Galerie Lelong, New York. 2. Gunpowder, which she had intuitively begun to use to burn her silhouette into the earth, trees, or rock, is employed in Santeria rituals to make mystic ground drawings and summon the spirits. "'Silueta' of A Woman: Sizing Up Ana Mendieta. My art is the way I re-establish the bonds that unite me to the universe. Ana Mendieta made the films Moffitt Building Piece and Sweating Blood (above) in response to the sexual assault and murder of University of Iowa student Sarah Ann Ottens in 1973. Mendieta was born on November 18, 1948, in Havana, Cuba,[1] to a wealthy family prominent in the country's politics and society. Ana Mendieta: Suspended Fire is an immersive installation featuring two films created by Cuban-American artist Ana Mendieta.The installment will be the newest addition to the DAM’s cross-departmental exhibition The Light Show and will showcase remastered versions of Anima, Silueta de Cohetes (Firework Piece), 1976, and Untitled: Silueta Series, 1978. Ana Mendieta: Traces (2014) Our Pick. [34], Mendieta had completed five photo-etchings of the Rupestrian Sculptures before she died in 1985. Ana Mendieta made the films Moffitt Building Piece and Sweating Blood in response to the sexual assault and murder of University of Iowa student Sarah Ann Ottens in 1973. Image: Katherine E. Nash Gallery. Ana Mendieta - One of The Most Important Figures of Performance Art Blood Writing, 1974. … [54] In May 2014, the feminist protest group No Wave Performance Task Force staged a protest in front of the Dia Art Foundation's retrospective on Carl Andre. "[17] Her resignation in 1982 is attributed, in part, to a dispute instigated by Andre over a collaborative art piece the couple had submitted. This beautiful film is a portrait of the life and work of Cuban-born American artist Ana Mendieta. See Full Cast + Crew for The Films of Ana Mendieta Features Load More Features Movie Reviews Presented by Rotten Tomatoes. In 2009, Mendieta was awarded a Lifetime Achievement Award by the Cintas Foundation. [59] In 2018, The New York Times published a belated obituary for her that began, "Mendieta's art, sometimes violent, often unapologetically feminist and usually raw, left an indelible mark before her life was cut short. [29] Many have interpreted Mendieta's recurring use of this mother figure, and her own female silhouette, as feminist art. Mendieta often focused on a spiritual and physical connection with the Earth. [49], Mendieta's work features in many major public collections, including the Solomon R. Guggenheim Museum, Metropolitan Museum of Art, Whitney Museum of American Art, and Museum of Modern Art in New York; the Art Institute of Chicago; Centre Pompidou, Paris; Musée d'Art Moderne et Contemporain, Geneva; and Tate Collection, London. The installment will be the newest addition to the DAM’s cross-departmental exhibition The Light Show and will showcase remastered versions of Anima, Silueta de Cohetes (Firework Piece) , 1976, and Untitled: Silueta Series … "Ana Mendieta: Earth Body, Sculpture and Performance 1972–1985. The performance was documented in the 1987 film Ana Mendieta: Fuego de Tierra,[38] and described by scholar Alexandra Gonzenbach: In the short piece, the artist enters the studio space, while Cuban music plays in the background. Mendieta used her own body, the raw materials of nature, and Afro-Cuban religion to express her feminist political consciousness and poetic vision. [9], As documented in the book Ana Mendieta: A Book of Works, edited by Bonnie Clearwater, before her death, Mendieta was working on a series of photo-etchings of cave sculptures she had created at Escaleras de Jaruco, Jaruco State Park in Havana, Cuba. The exhibition at Galerie Lelong coincides with a touring museum exhibition, “Covered in Time and History: The Films of Ana Mendieta.” Containing 21 of her films and videos, the show was organized by the Katherine E. Nash Gallery at the University of Minnesota and is now on view at the NSU Museum Fort Lauderdale (through July 3, 2016). "Crying for Ana Mendieta at the Carl Andre Retrospective." X. In 2010, a symposium called Where Is Ana Mendieta? A still from “Butterfly” (1975), a Super-8 film in the 2016 exhibition “Ana Mendieta: Experimental and Interactive Films,” at Galerie Lelong. This film was shot the same year as the previous one, yet it … [44][45] As of 2019, that film, Rebel By Nature, is in post-production. [48], Ana Mendieta died on September 8, 1985, in New York City, after falling from her 34th-floor apartment in Greenwich Village at 300 Mercer Street, where she lived with her husband of eight months, minimalist sculptor Carl Andre, who may have pushed her out of the window. Mendieta often focused on a spiritual and physical connection with the Earth. [31] Her sculptures were entitled Rupestrian Sculptures (1981)—the title refers to living among rocks[32]—and the book of photographic etchings that Mendieta was created to preserve these sculptures is a testament to the intertextuality of Mendieta's work. Ana Mendieta (2001) Our Pick. [51] Just prior to her death, neighbors heard the couple arguing violently. And she went to the bedroom, and I went after her, and she went out the window. [citation needed] Claire Raymond argues that the Silueta Series, as a photographic archive, should be read for its photographicity rather than merely as documentation of earthworks. 4, 10, 17. "Ana Mendieta: Performance in the way of the primitive". [1], In 2017 her work was presented in the retrospective solo show Ana Mendieta / Covered in Time and History at Bildmuseet, Umeå University, Sweden. "[p. 4:] Santeria was a source of inspiration for Mendieta. [53], The acquittal caused an uproar among feminists in the art world, and remains controversial to this day. [20], The Silueta Series (1973–1980) involved Mendieta creating female silhouettes in nature—in mud, sand, and grass—with natural materials ranging from leaves and twigs to blood, and making body prints or painting her outline or silhouette onto a wall.[21]. ", Manzor, Lillian. "Ana Mendieta: The "Silueta" Series, 1973–1980." Born in Havana, Mendieta left for the United States in 1961. 7 Outstanding Films by Ana Mendieta, Soon on View at Gropius Bau Art Exhibitions, Top Lists April 14, 2018 Balasz Takac Balasz Takac is alias of […] "In recapturing spirits close to her own origins, Mendieta also turned to Ix Chel, a Mayan deity considered to be Our Mother, the mother of the gods and the patron saint of women and goddess of childbirth. Among the newly uncovered works is Mendieta’s first film, Untitled, circa 1971, made when she was a 22-year-old student at the University of Iowa. In a 1981 artist statement, Mendieta said: I have been carrying out a dialogue between the landscape and the female body (based on my own silhouette). "Bloody Valentines: Afterimages by Ana Mendieta." As was the policy, all works needed to be delivered by the artist. In 1978, Ana Mendieta joined the Artists In Residence Inc (A.I.R. Jacob, Mary Jane. "[12] During her lifetime, Mendieta produced over 200 works of art using earth as a sculptural medium. When she and her sister were sent to Iowa, they were enrolled in a reform school because the court wanted to avoid sending them to a state institution. Her works are generally associated with the four basic elements of nature. These silent films speak out against that crime with the language of art unfolding through the temporal structure of film. Untitled (Ochún) (1981), named for the Santería goddess of waters, once pointed southward from the shore at Key Biscayne, Florida. [46], Mendieta presented a solo exhibition of her photographs at A.I.R.