It’s 100 Boots day on MANPodcast.com! Throughout the day MANPodcast.com will be featuring images from Eleanor Antin’s masterwork 100 Boots (1971-73).
An important work of conceptual art, mail art, feminist art and anti-war art, 100 Boots is one of Eleanor Antin’s best-known artworks. Between 1971 and 1973, Antin sent 50-odd postcards of boots to friends and colleagues. Antin has never attached specific meanings to 100 Boots, but the work suggests many narratives: Perhaps the boots stand in for Americans lost in Vietnam, for Americans who do not have a full voice in society or in our democracy because they are not male or not white or because they are migrant workers. The boots are simultaneously abstract and tangible; they are substantial but still stand for absence.
In 1973 the Museum of Modern Art in New York exhibited 100 Boots as one of its first “Projects” shows of up-to-the-minute developments in contemporary art. Hear about how that went — and how Antin and 100 Boots busted silos at MoMA — on this week’s MAN Podcast!
Eleanor Antin is the lead guest on this week’s Modern Art Notes Podcast. The Wallach Art Gallery at Columbia University is showing "Multiple Occupancy: Eleanor Antin’s ‘Selves,’" a survey of work Antin made from 1971-92 that address the personae she adapted in her work. The exhibition was curated by Emily Liebert and will be on view through December 7. The show’s strong catalogue is available for $25 by calling the gallery.
Antin is also participating in the upcoming Performa 13 performance biennial. On Nov. 9 she will perform as her invented character Eleanora Antinova, an African-American ballerina in Diaghliev’s Ballet Russes, and on Nov. 12 she will participate in a Performa panel discussion.
Antin has been the subject of solo shows at the Museum of Modern Art, New York, at the the Whitney Museum of American Art and in 1999 the Los Angeles County Museum of Art presented a retrospective of her work. Her work is in the collection of institutions such as the Art Institute of Chicago, the Centre Pompidou, the San Francisco Museum of Modern Art and the Museum of Contemporary Art San Diego.
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