词条 | Untitled (Rape Scene) |
释义 |
Mendieta invited her fellow students to her apartment where, through a door left purposefully ajar, they found her in the position recorded in this photograph, which recreated the scene as reported in the press. Some time later, Mendieta recalled that her audience "all sat down, and started talking about it. I didn’t move. I stayed in position about an hour. It really jolted them."[3] In 1980, she commented that the rape had "moved and frightened" her, elaborating: "I think all my work has been like that – a personal response to a situation ... I can’t see being theoretical about an issue like that."[4] On another occasion she explained that she had created this work "as a reaction against the idea of violence against women."[5][6] Art writer Megan Heuer describes the work as capturing the artist's interest in violence.[2] Influenced by the work of the Viennese Actionists, Untitled (Rape Scene) also expresses Mendieta's desire to evoke a visceral reaction from her audience.[6] Bibliography
References1. ^{{cite news|url=http://nymag.com/nymetro/arts/art/reviews/9525/|title=Human Nature|date= July 26, 2004|publisher=New York magazine|last=Stevens|first=Mark}} {{performance art}}2. ^1 {{cite news|url=http://www.brooklynrail.org/2004/09/art/ana-mendieta-earth-body-sculpture-and-pe|title=Ana Mendieta: Earth Body, Sculpture and Performance|work=The Brooklyn Rail|last=Heuer|first=Megan|date=September 1, 2004}} 3. ^Ana Mendieta, p.127, note 11. 4. ^Ana Mendieta, p. 90. 5. ^Viso 2004, p.256, note 58. 6. ^1 {{cite web|url=http://www.tate.org.uk/art/artworks/mendieta-untitled-rape-scene-t13355/text-summary|title= Untitled (Rape Scene)|publisher=Tate Gallery}} Angelique Szymanek, "Bloody Pleasures: Ana Mendieta's Violent Tableaux," Signs: Journal of Women in Culture and Society 41, no. 4 (Summer 2016): 895-925. 9 : Performance art|1973 works|1973 in art|University of Iowa|Feminist art|Political art|Collection of the Tate galleries|Works about rape|1970s photographs |
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