---
title: 2017_Antin_Paris Review
date: 2017-10-24T09:26:00-04:00
author: Graham Murray
canonical_url: "https://feldmangallery.com/news/2017/2017-antin-paris-review"
section: News
---
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  [Eleanor Antin](https://feldmangallery.com/artist-home/eleanor-antin) With a Bang: An Interview with Eleanor Antin

 The Paris Review Oct 21, 2017

 

 Eleanor Antin began her career as a stage actress and painter-cum-assemblagist in the late 1950s. She was inspired by the techniques of Yiddish theater and Michelangelo Antonioni, as well as those of Marcel Duchamp and Fluxus. Her versatile art practice was conceptual by design, though leavened by black humor and pageantry. Antin’s relocation to the purlieus of San Diego in 1968 contributed to her particularly Californian blend of theater and autofiction, while the native New York she left behind remained dominated by the more politicized tenets of minimalism. Since then, her stylistic DNA has imprinted itself on a cross section of literati and literary artists, from Kathy Acker to Chris Kraus and Sophie Calle, fortifying her status as not only an archetypal feminist artist but an innovative writer as well.

This autumn’s Richard Saltoun exhibition “Romans &amp; Kings” together with Frieze Masters’ “Spotlight” presented the first major London showcase of Antin’s oeuvre, including seminal series like “100 Boots” (1971–1973)—often considered the defining entry of the mail-art genre—“The Last Days of Pompeii” (2001), and “Helen’s Odyssey” (2007), part of her larger tableaux vivants collection, “Historical Takes,” as well as a reading from her ten-year cycle of performances, films, photos, and writings as the fictitious Ballets Russes ballerina Eleanora Antinova, which was collected in a book titled An Artist’s Life last year.

Following her appearance at the Serpentine Pavilion on the eve of Frieze Masters, Antin spoke to me via email about the significance of narrative in her artwork, an ominous adventure to the West Coast, and the literary world’s importunate conservatism.

**[Read the full interview here](https://www.theparisreview.org/blog/2017/10/22/bang-interview-eleanor-antin/)**

 

 

Related News &amp; Press

Sep 20, 2017

 [ ![Antinanother](/assets/exhibition_images/antinanother.JPG)  ](https://feldmangallery.com/news/2017/2017-antin-anothermagazine) 

Sep 20, 2017

AnOther Magazine

 [Eleanor Antin](https://feldmangallery.com/artist-home/eleanor-antin) [The Feminist Artist Who Dieted to Become a Marble Sculpture](https://feldmangallery.com/news/2017/2017-antin-anothermagazine) 

 

Oct 30, 2017

 [ ![Antin The Artists Studio From The Last Days Of Pompeii 2001](/assets/exhibition_images/Antin-The-Artists-Studio-from-The-Last-Days-of-Pompeii-2001.JPG)  ](https://feldmangallery.com/news/2017/2017-antin-white-review) 

Oct 30, 2017

The White Review

 [Eleanor Antin](https://feldmangallery.com/artist-home/eleanor-antin) [Eleanor Antin: Romans &amp; Kings](https://feldmangallery.com/news/2017/2017-antin-white-review) 

 

Jun 17, 2016

 [ ![Eleanor Antin Artnews](/assets/exhibition_images/Eleanor_Antin_Artnews.jpg)  ](https://feldmangallery.com/news/2017/2016-antin-artnews-wagley) 

Jun 17, 2016

Art News

 [Eleanor Antin](https://feldmangallery.com/artist-home/eleanor-antin) [Revisiting Eleanor Antin’s Groundbreaking Conceptual Portraits](https://feldmangallery.com/news/2017/2016-antin-artnews-wagley) 

 

Sep 04, 2013

 [ ![Antin Two Eleanors 1973](/assets/exhibition_images/Antin/Antin-Two-Eleanors-1973.JPG)  ](https://feldmangallery.com/news/2017/2013-antin-nytimes) 

Sep 04, 2013

New York Times

 [Eleanor Antin](https://feldmangallery.com/artist-home/eleanor-antin) [She Creates Herself in Multitudes](https://feldmangallery.com/news/2017/2013-antin-nytimes) 

 

 

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