拍品 68
  • 68

ANA MENDIETA | Untitled (Body Tracks)

估價
20,000 - 30,000 USD
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招標截止

描述

  • Ana Mendieta
  • Untitled (Body Tracks)
  • Each 9 1/2  by 6 3/8  in. (24.1 by 16.2 cm.)Overall 18 1/2  by 46 1/4  in. (47 by 117.5 cm.)
a suite of 5 chromogenic prints, each stamped 'Ana Mendieta Raquel Mendieta Harrington Administratrix of The Estate,' and with edition '8/10' and sequential lettering 'GP0651-A-E' in ink on the reverse, framed together, a Galerie Lelong label on the reverse, 1974, printed by the estate in 1998 (cf. Ana Mendieta: Earth, Body, Sculpture, and Performance, pp. 210-1)

來源

Galerie Lelong, New York, 2003

Condition

This suite of 5 chromogenic prints is in generally excellent condition. The colors remain bright and saturated, with no apparent fading. Each of the prints is hinged to the mat with 2 pieces of tape on the reverse, and there is a hinge remnant at the lower edge of the reverse of each.
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.

拍品資料及來源

In Body Tracks, Cuban artist Ana Mendieta presses and drags her blood or paint-soaked hands and forearms downward, creating dramatic, distinct recordings of the movement of her body on blank fabric, paper, or wall. While Mendieta’s Body Tracks performances are inherently ephemeral, there exist both film recordings as well as the actual paper or fabric painted with her ‘tracks’ to serve as physical documentations of the action.  Conducted from the mid-1970s until her untimely death in 1985, Mendieta’s powerful performances have strong feminist undertones. Her works stand in striking contrast to a 1960 performance by Yves Klein, wherein he directed several nude women as ‘living paintbrushes’ to paint his patented color, ‘Klein Blue,’ on huge sheets of paper.  By soaking her hands and arms in blood and paint, Mendieta’s performance challenges Klein’s ‘Anthropometry’ painting by mark-making with her own body and of her own accord.