“For Untitled (Death of a Chicken)1972 (reproduced Viso 2004, p.153), Mendieta stood in front of a white wall and held a chicken, that Hans Breder had just decapitated, by the feet in front of her naked body, its blood spattering her flesh and the wall behind her to create an effect that recalled the messy painterly expressionism of the Actionists.”
–Tate
Franko B, Oh Lover Boy, 2001
Ana Mendieta
Ana Mendieta, Untitled, Iowa, 1977
Sam Taylor Wood
Travesty of a Mockery,
The righteous attempts of a couple to outline their respective positions in an argument are mirrored in the dual screens of this installation. The changing channels of a radio places each stage of the argument to a different soundtrack, highlighting one of the major ways that emotion is manipulated by filmmakers.
Ana Mendieta, Sin titulo, Iowa, 1975
Janine Antoni and Paul Ramirez Jonas, Migration, 2002, channel video playing on two monitors side by side, 58:03 minute loopDimensions variable
Janine Antoni, Touch, 2002, Video installation, Duration: 9:37 minute loop, Projection size: 14 feet 8 inches x 13 feet 2 inches (447.04 x 401.32 cm)
Geoffrey Hendricks, Headstand, Bell Tower Torre Civica, Bergamo, Italy, 2012, Color photograph, 6 x 4 in (15.2 x 10.2 cm)
Ana Mendieta, Feathers on a Woman, University of Iowa, Iowa 1972
Geoffrey Hendricks, from Between Two Points, Meditative Rituals
Verona, Italy: Francesco Conz, 1974-1976
56 x 67 x 13 cm.
Edition of 15 signed and numbered copies
A wooden box containing a folder, fabric covered boxes (containing photographic documentation of performances), and ten numbered relics. The work documents ritualistic performances in Norway and Italy in 1974
Little Bristling Soul 