Episode No. 103 of The Modern Art Notes Podcast features artist Eleanor Antin and curator Toby Kamps.
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, which lacks an index, 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.
During our conversation host Tyler Green referenced this oral history Judith Richards conducted with Antin for the Archives of American Art. It’s not short, but it’s an unusually good read.
On the second segment, Menil Collection curator Toby Kamps talks about the exhibition “Wols: Retrospective,” which he co-curated with Ewald Rathke. Wols was one of the most important artists to emerge in post-war Europe. His work was a key bridge between the surrealists and Art Informel. The exhibition, which surveys Wols’ entire output, including photographs, drawings and paintings, is on view at the Menil through Jan. 12, 2014. The exhibition’s outstanding catalogue is the only monograph of Wols’ work that’s been published in English.
Air date: Oct. 31, 2013.
Eleanor Antin, The Two Eleanors from the series “The Ballerina,” 1973.
Eleanor Antin, Portrait of the King from the series “The King,” 1972.
Eleanor Antin, Carving: A Traditional Sculpture, 1972. Collection of the Art Institute of Chicago.
Eleanor Antin, Two puppets from the performance “Before the Revolution,” 1979.
The Getty’s (terrific) Pacific Standard Time webpage for Antin’s 100 Boots.
Eleanor Antin, 100 Boots on the Job, from the series “100 Boots, a set of photo-postcards,” 1972.
Wols, Manhattan, 1947. The Menil Collection, Houston.
Wols, It’s All Over, 1946-47. The Menil Collection, Houston.
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