The podcast series Death of An Artist centers on the art world’s long-standing “silence” following Ana Mendieta’s tragic death. Host Helen Molesworth seeks to break this silence, despite the narrative’s inherent constraints. Few are willing to speak, aside from some vocal friends, an NYPD detective, and certain art world figures. The case appears straightforward, but fear of litigation prevents outright accusations: the accused was acquitted of murder in 1988, aided by the justice system and the art community. However, the podcast’s portrayal of art world complicity as a conspiracy seems overstated. Silence may stem from diminishing interest or a lack of incentive from Mendieta’s family and insiders who doubt the accused’s innocence.
Instead of uncovering new evidence, Death of an Artist repackages existing archival data, like journalist Robert Kat’s 1990 book, Naked by the Window, with high production value. The podcast lacks a call to action for amateur investigators. The focus on Mendieta’s life is offset by an equal emphasis on her alleged killer, reflecting a media bias that falsely equates the two. The podcast contrasts them as opposites: Diego and Frida, man and woman, White and Latina, and so on. These narratives lean towards one perspective, despite claims of objectivity, highlighting race, religion, gender, and class as factors in the miscarriage of justice. The protests supporting Mendieta are a potent exploration of her enduring legacy.
Molesworth intertwines her narrative as someone also affected by the art world’s harshness, having been dismissed as the chief curator at the Museum of Contemporary Art in Los Angeles in 2018. This silence, enforced by a non-disclosure agreement, dilutes the potential connection between her experience and Mendieta’s. Roxane Gay’s cameo in the final episode provides a late perspective: “I don’t think we’re preserving anything when we preserve the work of murderers […] The world will be fine without Carl Andre.” Gay’s point suggests reevaluating whose legacy is prioritized in art history.
The podcast’s intellectual debates fail to affirm Mendieta’s essential humanity, overshadowing Tania Bruguera’s brief voiceovers as Mendieta. A more engaging dialogue with Bruguera, reflecting her decade-long engagement with Mendieta’s work, could have connected contemporary artists’ devotion to Mendieta’s life and legacy. The podcast peaks in sensationalism with a cliffhanger ending in a Manhattan apartment lobby, leading nowhere. The final episode recycles cancel culture debates, lacking fresh insights.
If museums continue to uphold empty diversity promises while supporting white supremacy, their relevance should be questioned. Alternative sites for preserving culture and art, reminiscent of the 2019 film Bacurau’s dual-purpose museum, should be considered. The podcast’s conclusion highlights museums as outdated institutions reluctant to include diverse voices. Ana Mendieta’s death remains a stark injustice, eloquently underscored by Molesworth’s call to “lift the silence with compassion,” urging continued dialogue about the rich life in Mendieta’s work.
