ELEANORANTIN

She describes herself as a “post-conceptual artist” by Darlene Fahmey

Background information:• Born in NYC on February 27, 1935

Well known for:• Jewish heritage and Yiddish culture• Performance Artist• Filmmaker/Videographer• Installation Artist• Photographer• Writer

•Works deal with: • History of Ancient Rome• Crimean War• Salons of 19th century Europe

Accomplishments:• She obtained the Guggenheim Foundation Fellowship in 1997 • Media Achievement Award from the National Foundation of Jewish culture in 1998.

• Public exhibitions 110 Centre Pompidou - Musée National d´Art Moderne, Paris & Beyond Appearances - Lehman College Art Gallery, New York City, NY

• Solo shows 182009 Classical Frieze: Eleanor Antin - Los Angeles County Museum of Art - LACMA, Los Angeles, CA 2008 Eleanor Antin: Historical Takes - San Diego Museum of Art, San Diego, CA Helen´s Odyssey - Ronald Feldman Fine Arts Inc, New York City, 2007 Eleanor Antin - The Empire of Signs - Galerie Erna Hécey, Brussels 2006 Eleanor Antin - 100 Boots, 1971-73/2005 - Galerie Erna Hécey, Brussels 2004 Eleanor Antin - University Art Gallery, UCSD, La Jolla, CA 2002 Eleanor Antin - This is not 100 boots - Galerie Ernst Hilger, Vienna Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 2000 Eleanor Antin - A Retrospective - Mildred Lane Kemper Art Museum, Saint Louis, MO 1998 Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 1995 Minetta Lane: A Ghost Story - Santa Monica Museum of Art, Santa Monica, CA Eleanor Antin - Ronald Feldman Fine Arts Inc, NYC, NY 1986 Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 1983 Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 1980 Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 1979 Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 1977 Eleanor Antin - Ronald Feldman Fine Arts Inc, New York City, NY 1973 Projects: 100 Boots by Eleanor Antin - MoMA - Museum of Modern Art, New York City, NY

• Group shows 89 *Winning retrospective at LA County Museum of Art in 1999. • Currently a professor at University of California, San Diego• Studied at MOMA, Writing School in NY, acting in 1954-1956 and she has a BA in creative writing and art 1958

• Public Collections: Austria - Generali Foundation, Vienna Canada - Vancouver Art Gallery, Vancouver, BCFrance - Musée d'Art moderne de Saint-Etienne, Saint-Etienne Italy - MUSEION - Museum für moderne und zeitgenössische Kunst , BolzanoSpain - CGAC - Centro Galego de Arte Contemporánea, Santiago de Compostela USA - Nora Eccles Harrison Museum of Art, East Logan, UT Los Angeles County Museum of Art - LACMA, Los Angeles, CA Mildred Lane Kemper Art Museum, Saint Louis, MO San Francisco Museum of Modern Art - SFMOMA, San Francisco, CA

Eleanor Antin, "The King," 1972. Video (black and white, silent), New York. Antin will be reading from her memoir entitled, Conversations with Stalin. An excerpt:I was what was called in the days of the old left, a red diaper baby. My mother was a Stalinist and though I had a father, nobody ever listened to him because he was just a socialist and everybody knew they were wimps. It was hard in those days, senator McCarthy was putting people in jail, people were losing their jobs, but we were strong because we always knew what was right. Comrade Stalin told us. Or he would have told us if he wasn’t so far away…These are my recollections, more or less, about growing up with the many romantic, economic and psychological problems young people face in our country and how by the end of the day, Comrade Stalin always solved my problems in his own inimitable way, by fucking them up.

silver gelatin photograph, mounted on board, 13 x 9 inches

Eleanor Antin was transforming herself in photographs in ways that were more haunting, funny, varied and complex—as well as more human. Where Antin was clearly on a quest for self-knowledge, Sherman’s portraits come off as unflattering commentary on the aspirations and ways of life of others, especially in this series, which struck me as ageist, sexist, and just plain mean.

Eleanor Antin, The King, 1972

Eleanor Antin. the "100 Boots" series 1971-1973

"100 Boots in a Field",from "100 Boots", black & whitepicture postcard, 4 1/2 x 7", 1971-73.

“100 Boots”

“100 Boots on Vacation”Silver gelatin print8 x 10 inchesCourtesy of Ronald Feldman Fine Arts, NY

“100 Boots Visit the Egyptian Gardens”

“100 Boots on the Way to Church”, 1973unique vintage gelatin silver print8 x 10 inchesCollection: The Museum of Modern Art,New York

“100 Boots Facing the Sea”

“100 Boots At The Bank”8 in x 10 in

“This is not 100 Boots”88.9 x 120 cm satin watercolor paper LA County Museum of Art, Calif

Shocking and thought-provoking it is. Especially because most people (women) don't like to talk about this particular subject:

Carving: A Traditional Sculpture of Photography148 black and white photos of the artist's nude body while on a starvation diet 37 days (four photos per day) Collection of The Art Institute of Chicago / Courtesy Ronald Feldman Fine Arts, New York

Pocahontas from Recollectionsof My Life with Diaghilevphotograph11 x 8 ½ inches

L'Esclave from Recollectionsof My Life with Diaghilevphotograph11 x 8 ½ inches

The Hebrews from Recollectionsof My Life with Diaghilevphotograph11 x 8 ½ inches

“Eleanor Antinova” – 5 Ballets Antin coreographed

Prisoner of Persia from Recollectionsof My Life with Diaghilevphotograph11 x 8 ½ inches

Eleanor AntinCaught in the Act: Choreography IV - In the Grand Manner (Short Tutu), 1973

Eleanor Antin, “The Angel of Mercy “(Florence Nightingale), Myself-1854, 1977Tinted silver gelatin photograph mounted on paperboard

Persona of the Ballerina

“The Ballerina and the Bum” 1974, 53 min, b&w, sound film

“Vilna Nights” Mixed media installation 1993,

Commissioned for the Jewish Museum, NY

Inaugurates the museum’s new exhibition space.

A ruined shell with a bombed out courtyard, a demolished wall where the viewer peers through three vignettes of life-size projections onto windows.

"The Artist's Studio", from "The Last Days of Pompeii," 2001, chromogenic print, 46 5/6 x 58 5/8".

http://www.youtube.com/view_play_list?p=9461961E1AD6BD70&playnext=1&playnext_from=PL&v=Wfn0I5p1dHE

“Wrestling with the Past” production still, 2001.

"The Death of Petronius" from "The Last Days of Pompeii," 2001. Chromogenic print, 46 5/8 x 94 5/8 inches. Courtesy Ronald Feldman Fine Arts, New York.

“Going Home From “ *Roman Allegories*, 2004Photograph, chromogenic print 123.2 x 261 x 5.1 cm (framed)

 Plaisir d’Amour (after Couture) from “Helen’s Odyssey,” 2007chromogenic print, 61 x 92 1/2 inches edition of 5

Constructing Helen from "Helen's Odyssey," 2007chromogenic print, 61 x 105 3/4 inchesedition of 5

Proserpine Welcomes Helen to Hades from "Helen's Odyssey," 2007chromogenic print61 x 104 3/4 inchesedition of 5

Relatedness:

Judy Chicago for the attempt to discover her “self”

Carolee Schneemann for her performance works