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Ana Mendieta and Carl Andre: Duet of Leaf and Stone Author(S): Laura Roulet Source: Art Journal, Vol

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Ana Mendieta and Carl Andre: Duet of Leaf and Stone Author(S): Laura Roulet Source: Art Journal, Vol Ana Mendieta and Carl Andre: Duet of Leaf and Stone Author(s): Laura Roulet Source: Art Journal, Vol. 63, No. 3 (Autumn, 2004), pp. 80-101 Published by: College Art Association Stable URL: http://www.jstor.org/stable/4134492 Accessed: 16/10/2010 15:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to Art Journal. http://www.jstor.org Carl Andre. Spill (Scatter Piece), 1966. Plastic, canvas bag. No measurements. Collection of John Powers. Art @ Carl Andre/Licensed byVAGA, NewYork. Photograph courtesy of Paula Cooper Gallery, NewYork. On February 8, 1985, CarlAndre wrote to his new bride: "Darling Ana:Your theme is the pregnant earth. My theme is the universe before the earth and after.Yours is the jewel, mine is the setting."'In this note, Laura Roulet the avatarof Minimalismposits his work as the universal structureoffsetting the humanityof AnaMendieta's post- Ana Mendieta and Minimalistwork. As Minimalisminformed post-Minimalism, so did Andreaffect the directionof Mendieta'slast years Carl Andre: personallyand artistically.Their emotionally volatile relation- ship was one of aestheticconvergence as well as conflict, Duet of Leaf and Stone of mutualgive-and-take. While recognizedfor her early performance-basedwork and earth-bodyseries Siluetas,the object-makingMendieta began in the final yearsof her life has been shroudedin the same obscurityas her relationshipwith Andre.Yet an examinationof their creative offers into Mendieta'sintent as she I'm grateful to Rafael Hernandez, Olga M. Viso, synergy insight Jim R. Shepard, Martha Bari, Karen Miller,and searchedfor ways to bring her earthart into the galleryas permanentsculpture. Kristen Hileman for their comments and cogent its end, their resultedin exhibi- unwavering support of this article. Raquelin Despite deplorable five-yearpartnership joint Mendieta and Galerie Lelong have also been tions, travels,shared friendships, political affinity, and artisticcollaboration on invaluable in their assistance. a book of lithographs. The information published in this article was Criticalassessment of Mendieta'slast phase of work from the 1980shas been obtained during the author's work as the project clouded the circumstances her violent deathat researcher for the Hirshhorn Museum and by surrounding age thirty-six. Sculpture Garden, Smithsonian Institution,on the When she died in a fall from the thirty-fourthfloor of a GreenwichVillage apart- exhibition and publication of Ana Mendieta: Earth ment building, she was marriedto CarlAndre. He was the only other person Body,Sculpture and Performance1972-1985. The in the on the of when she fell. exhibition was organized by Olga M. Viso, now apartment morning September8, I985, Though deputy director of the Hirshhorn. It premiered indicted for her murder,he was acquittedin 1988.The intrigue and mysterysur- at the Whitney Museum of American Art, New her death the art world between the estab- York (July I-September 19, 2004) and travels to rounding deeply polarized powerful the Hirshhorn in Washington, D.C. (October 14, lishment loyal to Andreand the feminist and Latinoart communities.Personal the Des Moines Art 2004-January 6, 2005), loyaltyhas continuedto play a role in the criticalappraisal of both artists.In an Center (February 25-May 22, 2005), and the MiamiArt Museum (October 7, 2005-January 15, emperor's-new-clothessituation, the points of comparisonbetween their work 2006). are evident,but politicallyincorrect to discuss.Of essentiallydifferent generations I. Ana Mendieta papers, Galerie Lelong, New artistically,they still found much to admirein each other'swork. A Minimalist York, New York. aestheticand preoccupationwith issues of scale, materials,presentation, and 81 art journal Ana Mendieta. Installation photograph of Galleria Primo Piano exhibition, Rome, March 1984. ?The Estate of Ana Mendieta Collection. Courtesy of Galerie Lelong, NewYork. Photograph courtesy of Hirshhorn Museum and Sculpture Garden,Washington, D.C. environment drew them together.Yet as post-Minimalism challenged many tenets of the style it subverts, Mendieta's gendered subjectivity distinguished her art from Andre's iconic Minimalism. Mendieta met Andre in November 1979, but she was already well acquainted with his work. The writer and curator John Perreault recalls using a slide of Andre's Spill(Scatter Piece) (1966/69) a decade earlier to illustrate the element of chance in a seminar he taught on contemporary art, attended by Mendieta at the University of Iowa.2 As well as seeing his work many times in art magazines, she owned the catalogue from the Whitney Museum's exhibition 200 Yearsof American Sculpture,and probably saw the exhibition in 1976. Curator Marcia Tucker'sessay on contemporary sculpture features Andre as heralding "for himself and others, the end of art made in the studio.'3 His work is pictured seven times in the cata- logue overall. Minimalism was no longer the avant-garde, but the established paradigm to react against. Minimalism had literally knocked sculpture off its pedestal. Artists such as Andre, Donald Judd, and Dan Flavin challenged the traditional conventions of sculpture: representation, illusionism, craftsmanship, permanence, and even the object itself. Minimalism presented a new set of formal strategies: the grid, seriality, identical modular units, geometric structure, industrial materials, and fabrication. Post-Minimalists eagerly adopted these precepts as new jumping-off points for sculptural invention: use of unorthodox materials, serial repetition, and physicality, but with allusive references and sometimes whimsy or erotica in their creations. Termed "anti-form" by Robert Morris, "dematerialized" by Lucy Lippard, and "post-Minimalist" by Robert Pincus-Witten, the sculpture that emerged in the late i96os and 1970oswas a subversive response to Minimalism. Eva Hesse is often cited as an influential iconoclast, as well as Mel Bochner, Lucas Samaras, and Bruce Nauman.4 Because of her age and ethnicity, Mendieta has rarely been placed in this category, but most of the movement's characteristics apply to her work as well. Adjectives such as anthropomorphic, biomorphic, handmade, mixed-media, psychologically attenuated, and organic apply equally to Mendieta 2. For several years, I researched Mendieta for and Hesse. Both accepted the pared-down, abstracted aesthetic of Minimalism, the exhibition curator retrospective organized by and each used the style to convey her own subjective meaning. Olga M. Viso. Together we interviewed dozens of Mendieta's relatives, friends, and colleagues. This As Lippard foretold in her introduction to the EccentricAbstraction exhibition information is from my telephone interview with in 1966, "The future of sculpture may well lie in such non-sculptural styles."6 Perreault on 2002. John August I, At the same as noted feminist historians like and 3. MarciaTucker, "Shared Space: Contemporary time, by Lippard Whitney Sculpture and Its Environment," in 200 Yearsof Chadwick,7 women artists emerged as shapers of the art world, mirroring the American exh. cat., ed. Sculpture, Tom Armstrong cultural of the feminist movement. With Mendieta, we (New York: Whitney Museum of American Art, larger phenomenon 1976), 215. include the impact of Black and Hispanic Power movements. These social forces 4. See Robert Pincus-Witten, "EvaHesse: Post- combined to shift artistic production and the critical debate toward Minimalisminto Sublime,"Artforum 10, no. 3 recognition (November 1971): 32-44. of gender and ethnic identity. 5. A notable was the exhibition More exception As a student in the Mendieta made earth-body works that exemplify ThanMinimal: Feminism and Abstractionin the '70s, 197os, organized by Susan L. Stoops at the Rose Art art made outside the studio, influenced by the contemporaneous and overlap- Museum, Brandeis University, Waltham, Massa- ping movements of Conceptualism, body art, earth art, feminism, and Minimal- chusetts, in 1996. 6. Quoted in Pincus-Witten, 37. ism. She was exceptionally quick to absorb the cultural zeitgeist and adopt it for 7. See More ThanMinimal: Feminism and Abstrac- her own expressive purposes. The earth-body works were an inventive series of tion in the '70s Mass.: Brandeis (Waltham, on her silhouette in created in media from University, 1996). Both Lucy Lippardand Whitney variations (silueta Spanish), ranging Chadwick contributed essays. the elemental
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