Celebrating Ana Mendieta and New York's Jazz Scene

Ana Mendieta, a Cuban American artist, has gained renewed attention as her work continues to resonate within contemporary art discussions. Her life, marked by both artistic brilliance and tragic circumstances, is the focus of the exhibition "Back to the Source," which highlights her influential "Silueta" series from the 1970s. This series features photographs of figures she created in natural settings, embodying a deep spirituality and a unique ability to transform absence into presence. The exhibition includes her sculpture "Ñañigo Burial" (1976), which consists of forty-seven black candles melting into a silhouette of Mendieta's body, serving as a poignant memorial. This retrospective runs at the Marian Goodman Gallery through January 17.

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In parallel to Mendieta's artistic revival, New York's vibrant jazz scene thrives at venues like Ornithology, a bohemian jazz club located in Bushwick. The club is known for its eclectic atmosphere, featuring a ten-piece jazz band that performs regularly. On a recent Tuesday night, patrons enjoyed a performance by the Ornithology Big Band, which included a cover of "My Favorite Things" from "The Sound of Music." The ambiance was enhanced by Moroccan-style decor and a large portrait of jazz legend Pharoah Sanders, who seemed to oversee the proceedings with a critical gaze.

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The experience at Ornithology is not just about the music; it also encompasses the culinary offerings. Guests sampled cocktails like the Autumn in New York and the Calcutta Cutie, the latter being a refreshing blend of pear-and-chai-infused vodka. As the band played through their set, the musicians displayed a mix of confidence and anxiety, embodying the high stakes of live performance. The night concluded with a rendition of Duke Ellington's "I Got It Bad (And That Ain’t Good)," leaving the audience with a lasting impression of the evening's artistry.

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The exhibition "Back to the Source" aims to reestablish Mendieta's significance in the art world, emphasizing her contributions to the discourse on identity and absence. Meanwhile, Ornithology's commitment to showcasing live jazz reflects a broader cultural movement to preserve and celebrate this musical genre as a vital part of New York's artistic landscape.

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While Mendieta's work is celebrated, discussions around her tragic death and the circumstances surrounding it often evoke mixed feelings among critics and art historians. Some argue that her legacy is overshadowed by the narrative of her death, which can detract from the appreciation of her artistic contributions. In the jazz scene, there are concerns about the commercialization of live performances, with some patrons questioning the value of high-priced cocktails in relation to the quality of the music.

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• “) This exhibition goes “Back to the Source,” to borrow its subtitle, reëstablishing the haunting and visceral terrain of Mendieta’s work.” — Jillian Steinhauer, Art Critic

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• “The raison d’être of Ornithology, a bohemian jazz club in Bushwick situated under the rumbling J/Z line, is scrawled in white text on its exterior façade, next to a mural of a pinstriped Charlie Parker blowing away on his sax: “Bird lives.” — Richard Brody, Film Critic

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This exploration of Ana Mendieta's art and the dynamic jazz scene in New York illustrates the city's rich cultural tapestry, where past and present converge to create a unique artistic experience.

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