- 529
Ana Mendieta
Estimate
40,000 - 60,000 USD
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Description
- Ana Mendieta
- Untitled (Glass on Body Imprints)
- each signed by Raquel Mendieta Harrington, Administratix of The Estate and stamped with artist's signature and number 9/10 on reverse
- c-print, in 6 parts
- each: 19 1/4 by 12 7/8 in. 48.9 by 32.7 cm.
- Conceived in 1972 and executed by the Estate of Ana Mendieta in 1997, this work is number 9 from an edition of 10.
Provenance
Galerie Lelong, New York
Acquired from the above by the present owner in February 2001
Acquired from the above by the present owner in February 2001
Exhibited
New York, Gallery Lelong, Ana Mendieta: Body Imprints and Transformations, 1972-74, November - December 1997 (edition no. unknown)
Santa Monica, Blum & Poe, Ana Mendieta: Transformations 1972-73, January - February 1998 (edition no. unknown)
Santiago de Compostela, Centro Galego de Arte Contemporanea; Kunsthalle Dusseldorf; Barcelona, Fundació Tápies; Monterrey, Museo de Arte Contemporaneo; Mexico City, Museo de Arte Contemporaneo Internacional Rufino Tamayo, Ana Mendieta, July 1996 - June 2000, cat. no. 2, p. 16, illustrated in color (Santiago) (edition no. unknown)
Ishøj, Denmark, Arken Museum of Modern Art, Kulturbro Biennial Exhibition, Man-The Body in Art from 1950-2000, September 2000 - January 2001 (edition no. unknown)
Kunstmuseum Luzern, Ana Mendieta (1948 - 1985): Body Tracks, October 2002 - February 2003, cat. no. 2, p. 6-7, illustrated (edition no. unknown)
New Jersey, Princeton University Art Museum, Body Memory, October 2008 - January 2009, p. 81, illustrated
Rome, Galleria Nazionale d'arte Moderna, DONNA: Avanguardia Femminista Negli Anni '70: dalla Sammlung Verbund di Vienna, February - May 2010 (edition no. unknown)
Berlin, Akademie der Kunste, Lens-based sculpture. The Transformation of Sculpture through Photography, January - April 2014 (edition no. unknown)
Sharon, Connecticut, The Granary, The Distaff Side, April 2013 - December 2014, p. 60-64, illustrated (edition no. unknown)
Los Angeles, Hammer Museum, Radical Women: Latin American Art, 1960-1985, September - December 2017 (edition no. unknown)
Santa Monica, Blum & Poe, Ana Mendieta: Transformations 1972-73, January - February 1998 (edition no. unknown)
Santiago de Compostela, Centro Galego de Arte Contemporanea; Kunsthalle Dusseldorf; Barcelona, Fundació Tápies; Monterrey, Museo de Arte Contemporaneo; Mexico City, Museo de Arte Contemporaneo Internacional Rufino Tamayo, Ana Mendieta, July 1996 - June 2000, cat. no. 2, p. 16, illustrated in color (Santiago) (edition no. unknown)
Ishøj, Denmark, Arken Museum of Modern Art, Kulturbro Biennial Exhibition, Man-The Body in Art from 1950-2000, September 2000 - January 2001 (edition no. unknown)
Kunstmuseum Luzern, Ana Mendieta (1948 - 1985): Body Tracks, October 2002 - February 2003, cat. no. 2, p. 6-7, illustrated (edition no. unknown)
New Jersey, Princeton University Art Museum, Body Memory, October 2008 - January 2009, p. 81, illustrated
Rome, Galleria Nazionale d'arte Moderna, DONNA: Avanguardia Femminista Negli Anni '70: dalla Sammlung Verbund di Vienna, February - May 2010 (edition no. unknown)
Berlin, Akademie der Kunste, Lens-based sculpture. The Transformation of Sculpture through Photography, January - April 2014 (edition no. unknown)
Sharon, Connecticut, The Granary, The Distaff Side, April 2013 - December 2014, p. 60-64, illustrated (edition no. unknown)
Los Angeles, Hammer Museum, Radical Women: Latin American Art, 1960-1985, September - December 2017 (edition no. unknown)
Literature
Jane Blocker, Where is Ana Mendieta? Identity, Performativity, and Exile, London 1999, p. 12, illustrated
Anna Maria Guasch Ferrer and Nasheli Jimenez Del Val, Eds., Critical Cartography of Art and Visuality in the Global Age, London 2014, p. 201
Exh. Cat., New York, Metropolitan Museum of Art, Delirious: Art at the Limits of Reason 1950-1980, 2017, p. 56
Anna Maria Guasch Ferrer and Nasheli Jimenez Del Val, Eds., Critical Cartography of Art and Visuality in the Global Age, London 2014, p. 201
Exh. Cat., New York, Metropolitan Museum of Art, Delirious: Art at the Limits of Reason 1950-1980, 2017, p. 56
Condition
This work is in fair condition overall. Each sheet is hinged verso to backing board at all 4 corners. There is evidence of significant fading to the color of each print. There is evidence of minor wear to the edges of the sheets. There are areas of pinpoint surface accretions with minor associated pigment losses in the upper right quadrant of image 1 and the lower half of image 5. There is a soft undulation to each sheet. Framed under Plexiglas.
Please contact the Contemporary Day Sale team for additional details regarding this work.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.