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  • Provenance

    Galerie Lelong, New York

  • Exhibited

    Santiago de Compostela, Spain, Centro Gallego de Arte Contemporáneo, 1996 and Mexico City, Museo Tamayo Arte Contemporáneo del Instituto Nacional de Bellas Artes, 2000, Ana Mendieta; New York, Museum of Modern Art, Here is Elsewhere, Artist’s Choice: Mona Hatoum, November 2003 - February 2004; New York, Museum of Modern Art, Photographs from the 1890s to the Present: Inaugural Exhibit, Edward Steichen Photography Galleries, November 2004 - June 2005; 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 1975-1985, July 2004 – January 2006

  • Literature

    G. Moure, Ana Mendieta, Santiago de Compostela, 1996, p. 15 (illustrated); O. Viso, Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985, Ostfildern-Ruit, 2004, p. 144 (illustrated); L. Camhi, "Her Body, Herself", The New York Times, Arts/Design, June 20, 2004, p. 20 (illustrated)

  • Catalogue Essay

    Earth, body and performance artist Ana Mendieta is one of the most important figures of her generation. In his essay, "Ana Mendieta: Autonomous Body," critic Donald Kuspit describes her work as having a "timeless as well as contemporary validity." Mendieta’s performance and body work, he writes is, "not only profoundly feminist, but encompasses and evokes the deepest psychological issues of life. She is important for her authenticity and outspokenness, her passion and consistency. Fearless and driven, she manages to rise above the storm of her own desire..." (D. Kuspit quoted from Ana Mendieta, Centro Gallego de Arte Contemporáneo, 1996, p. 54).

    Untitled (Facial Cosmetic Variations), 1972 is the earliest example of Mendieta’s body art and is an experimentation with gender, race and identity. In the four images in this suite Mendieta not only alters her appearance but also her race, by utilizing blonde and dark wigs and heavy make up. Described as "a caustic, if comic, attack upon the conventions of female beauty" (MOMA press release, 2004) this work of Mendieta’s predates the later identity transformations by female artists such as Cindy Sherman.

370

Untitled (Facial Cosmetic Variations)

1972
Four c-prints.
20 x 16 in. (50.8 x 40.6 cm) each.
Stamped with artist's signature and estate seals indicating sequential order and edition size on the reverse of each. Executed in 1972; printed in 1997 from Mendieta's original slides by the Estate of Ana Mendieta and Galerie Lelong. This work is from an edition of 10.

Estimate
$30,000 - 40,000 

Sold for $31,200

Contemporary Art Part II

17 Nov 2006, 10am & 2pm
New York