June 19, 1999
Much as I enjoy Eleanor Antin's work, and Leah Ollman's review, I might suggest that Leah do some more homework ("Will the Real Eleanor Antin Stand Up? (And Take a Bow)," May 27). Before Cindy Sherman and before Antin, there was Marcel Duchamp, who "lived in character" as Rose Selavy (a pun on "eros, c'est la vie,"), back in the early part of this century. Man Ray took a nice portrait of "her." LISA SCHOYER Altadena
May 27, 1999 |
Expect a transformative experience at the Eleanor Antin retrospective that opened Sunday at the Los Angeles County Museum of Art. Transformation is key to Antin's art, and Howard Fox, curator of this utterly engaging show, has made it an integral part of the installation. From the first few white-box galleries to the saturated color and dramatic darkness of the last, the show itself is theater, a terrifically apt showcase for Antin's theatrical sensibility, both comedic and tragic.
May 16, 1999 |
Eleanor Antin has gotten past the gnawing anxiety. Or, as she succinctly puts it: "The initial weirdness is over." Three years ago, when curator Howard Fox called to invite her to present her work in a 30-year retrospective at the Los Angeles County Museum of Art, Antin responded, as many artists do, with a coddled mixture of excitement and trepidation--excitement over an honor that comes to relatively few, trepidation over seeing her life's work laid bare, all at once.
April 2, 1995 |
A skeleton wearing a frilly purple hat stands just inside the door of Eleanor Antin's spacious studio at UC San Diego, greeting the visitor with an instant burst of the artist's trademark fatalistic humor. Just in case the message doesn't sink in, a handbill visible on the door cheerily illustrates several early warning signs of cancer. The studio, like Antin herself and her work of 25 years in performance art, writing, installation and independent film, entertains--with an edge.
May 20, 1992 |
"The Man Without a World" is a novel, unorthodox film, inventive and unexpected. However, like many an ambitious project made with the most limited resources, imagination runs ahead of execution, and the audience ends up having to cope with the inevitable defects of the film's virtues. "The Man Without a World" (at the Monicas) is first of all a fascinating stylistic experiment.
June 8, 1991 |
On one level, Eleanor Antin's "The Man Without a World" is an imaginative gag, a cinematic practical joke. The credits suggest that it's a long lost film by a turn-of-the-century Soviet director named Yevgeny Antinov, but it really is not. Antinov is a fabrication, and the silent film, which screens Sunday at 7 and 9 p.m. at the San Diego Museum of Contemporary Art in La Jolla, was produced in 1991, not 1920.