Lot 2A
Hans Dieter Breder (American, born in Germany, 1935-2017). Untitled Oaxaca, Mexico from the series Body/Sculpture, gelatin silver print, 1973. Artist Proof. Hand-signed with date and "A/P" beneath image. Artist's estate stamp on verso. Model was Ana Mendieta (Cuban-American, 1948-1985). An evocative photograph by German-American artist Hans Breder from his signature series, "Body/Sculpture," and featuring the artist Ana Mendieta as a model. In 1969, Breder met 20-year-old Ana Mendieta, at a time when he was already exploring the use of mirrors in photographic works - a method that disrupted and fragmented both the image and its perception. This meeting would become a defining moment for both artists. Their collaboration, both artistic and romantic, found expression in the "Body/Sculpture" series, which marked a significant starting point for their creative journeys. Size of image: 9.75" W x 10" H (24.8 cm x 25.4 cm); Size: 10.75" W x 13.75" H (27.3 cm x 34.9 cm)
Together, they made yearly trips to Mexico, where Breder played a key role in the development of some of Mendieta's early, acclaimed works blending performance, land art, and photography.
Ana Mendieta, a Cuban-born artist exiled to the U.S. as a child, explored identity, exile, and cultural displacement through her groundbreaking interdisciplinary art. Dissatisfied with traditional painting during her graduate studies at the University of Iowa, she turned to performance and intermedia work, using her body to confront themes like violence against women and societal perceptions of identity. Works like Untitled (Glass on Body Imprints-face) (1972) and Untitled (Facial Cosmetic Variations) challenged notions of racialization and self-representation. Her Silueta series (1973-80), involving imprints of her body in natural landscapes, metaphorically captured her sense of exile and longing for her Cuban homeland. Throughout her career, Mendieta emphasized the intersectionality of race, gender, and culture, advocating for a "personal will to continue being 'other'" in a society that marginalized non-white women.
Hans Breder, much like Kandinsky, Malevich, and Mondrian, viewed art as a spiritual endeavor, a form of thought that seeks to articulate forces beyond rational and irrational understanding. His work spans diverse mediums - painting, sculpture, photography, music, installation, video, and film - each challenging the materialism of Western culture and inviting viewers to explore moments of transcendence and subversive in-betweenness. Breder's art dissolves boundaries and shifts perceptions, creating experiences that oscillate between shock and allure, ultimately offering glimpses into a space of boundless possibility A pioneer in video art and a participant in three Whitney Biennials, Breder established the Intermedia Program at the University of Iowa's School of Art & Art History in 1968. He led the program, known for its groundbreaking interdisciplinary approach, until his retirement as an F. Wendell Miller Distinguished Professor in 2000. The program reflected Breder's dedication to fostering intellectual and creative collisions across artistic disciplines.
Both Breder and Mendieta shared an interest in themes of transformation, the human body, and blending process with product. They often explored the relationship between the body and the natural environment. Breder's photographs paired natural landscapes with figures distorted by mirrors, while Mendieta's work focused on creating ephemeral imprints and sculptures, which she called "siluetas," to evoke a spiritual connection between body, landscape, and history. From 1973 to 1980, the artists traveled to Mexico each summer, collaborating and developing their distinct yet intersecting practices. At the Cuilapan Monastery, Breder documented Mendieta's work in the same courtyard where she created a silueta. At La Ventosa, Breder handled the camera for Mendieta's film Ocean Bird Wash Up, capturing her floating in the surf, adorned with feathers. On that same beach, Mendieta became the subject of Breder's photographs, posing as a "body sculpture" with her limbs mirrored in the water.
Provenance: private Iowa City, Iowa, USA collection
All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back.
A Certificate of Authenticity will accompany all winning bids.
We ship worldwide and handle all shipping in-house for your convenience.
SHIPPING EXCEPTIONS: Due to customs clearance issues, we are unable to ship to Germany, Switzerland and Australia. If you live in Germany, Switzerland or Australia, you will need to provide an alternate shipping destination, or we will not be able to complete your purchase. In addition, please note that we are unable to ship ancient items back to the original country of origin (Egyptian to Egypt, Greek to Greece, etc.)
PAYMENT EXCEPTION: Unless a known customer of Artemis, payment for all gold / precious metal / gem lots must be made via Bank Wire Transfer or Certified Bank Check/Money Order, no exceptions.
#189868
- Condition: Artist Proof. Hand-signed with date and "A/P" beneath image. Artist's estate stamp and "Final proof / Cr1 f/8 50 see" written in pencil on verso. Slight curving upward of left and right edges of paper
Accepted Forms of Payment:
American Express, Discover, MasterCard, Visa
Shipping
Auction House will ship, at Buyer's expense
Artemis Fine Arts
You agree to pay a buyer's premium of up to 27.5% and any applicable taxes and shipping.
View full terms and conditions
| From: | To: | Increments: |
|---|---|---|
| $0 | $299 | $25 |
| $300 | $999 | $50 |
| $1,000 | $1,999 | $100 |
| $2,000 | $4,999 | $250 |
| $5,000 | $9,999 | $500 |
| $10,000 | $19,999 | $1,000 |
| $20,000 | $49,999 | $2,500 |
| $50,000 | $99,999 | $5,000 |
| $100,000 | $199,999 | $10,000 |
| $200,000 + | $20,000 |