The black sheep usually doesn't follow the crowd because every once in a while, the crowd is literally going the wrong way in mass

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 The black sheep usually doesn't follow the crowd because every once in a while, the crowd is literally going the wrong way in mass   The black sheep usually doesn't follow the crowd because every once in a while, the crowd is literally going the wrong way in mass  It takes a black sheep to stand out and say, 'Hey, I think we're headed off a cliff here!' They may be labeled as outcasts or rebels, but in reality, they're the ones who are brave enough to challenge the status quo and forge their own path. Let's celebrate the black sheep in our lives - the ones who inspire us to think differently, to question the norms, and to embrace our individuality.
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This is not for the weak hearts Ana Mendieta // Untitled (Rape Scene) // 1973,

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 This is not for the weak hearts Ana Mendieta // Untitled (Rape Scene) // 1973,

This is not for the weak hearts  Ana Mendieta // Untitled (Rape Scene) // 1973,


Untitled (Rape Scene) is the documentation of an action that the artist performed in her apartment in Iowa City, while she was a student at the University of Iowa on the innovative Intermedia art course run by the German artist Hans Breder (born 1935). It was created in response to a brutal and highly publicised rape and murder of a nursing student, Sara Ann Otten, by another student in March 1973. The following month 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.’ (Quoted in Ana Mendieta, p.127, note 11.) 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.’ (Quoted in Ana Mendieta, p.90.) On another occasion she explained that she had created this work ‘as a reaction against the idea of violence against women’ (quoted in Viso 2004, p.256, note 58).


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