Semi-Contemporary Photographer: Eleanor Antin

The Triumph of Pan (after Poussin) from "Roman Allegories" (2004)

The Tourists from "Helen's Odyssey" (2007)

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Eleanor Antin was born in 1935 in New York City. Her parents immigrated from Poland because they were not only Jewish, but also communists. Antin attended Music and Art High School in New York , and then attended City College in New York where she majored in writing. From 1955-1958, she worked as a stage actress and modeled for painters. She returned to CCNY to obtain a degree in creative writing, where she met her husband, and after marriage the two moved to California, where she taught at various universities, and continues to do so.

A storyteller as well as an artist, Antin became known first for her 100 Boots series, which used the US Postal service as a means of distribution. Antin's photos of 100 boots in various locations were mailed to other artists and institutions, and the result was an endearing narrative. Antin was also known for her performances and creation of different characters, and this can be seen in her photos as well. Antin's work questions the identifiers of identity, while visually telling a story. Her work draws heavily on history, and deals with how history is reinterpreted throughout time.

Each of the photos above takes both history and baroque representations of that history as its inspiration. Figures are bright and animated, and towards the foreground of the photo, giving an impression of a shallow space. Emphasis is placed on the figures, and the lighting is bright, providing clear images with high contrast. Having taken baroque images as inspiration, the photos preserve the balance of the original paintings.

In the center image, the various conceptions of the perfect woman throughout history are laid side-by-side, in conversation with one another. Presented in one image, on the same level with one another, Antin takes each ideal out of context, highlighting the transitory and sometimes ridiculous notion of a "perfect Woman." The image below is part of a series that portrays the differing conceptions of Helen of Troy not only across different cultures and time, but in the ancient world itself. This image highlights the unaware, perhaps even ditzy portrayal of Helen, as a woman who simply observes the horror going on around her, unconcerned and sheltered from any real tragedy.

To create her images, Antin combines several photos, and uses large stages. Her images are productions in themselves, and after taking photos, she combines many figures into one frame, sometimes making them different sizes.

As a person concerned with identity, the Helen photos show two sides of the ancient Helen of Troy, as both worshipful and beautiful, and worthy of blame for the Trojan War. She weaves an interesting narrative about these two sides of Helen, showing the same scene but with different "Helens." Antin strives to make the viewer question history and its authenticity in recording the true nature of a person, and the feminine identity in general.

What I like most about her work is her ability to tell a story. I love her bright lighting, and the way she can so clearly narrate through imagery. I also love her subject matter, since I'm a big fan of both history and older art. I wish I had a big studio with professional lighting; I would love to make tableaux like this.