LONDON.- Richard Saltoun Gallery
presents Eleanor Antin: Romans & Kings, the first exhibition in London of the pioneering American Feminist filmmaker, performance and conceptual artist.
A key figure of conceptual art movements of the 1970s; Eleanor Antins ground-breaking practice spans five decades and has covered themes surrounding identity, gender, autobiography, class and social structures. Antins multi-disciplinary approach includes installation, painting, drawing, writing and most notably photography and performance. Rearticulating historical narratives, both real and fictitious, she explores the tropes of feminist and conceptual art. Today as an octogenarian artist, she remains one of the worlds leading Feminist artists.
The debut exhibition at Richard Saltoun Gallery consists of recent and historical works from two of Antins most iconic bodies of work; Helens Odyssey (2007) and The Last Days of Pompeii (2002) both take as their inspiration key allegorical moments in Greek or Roman mythology. Actors, dressed in character costumes pose in front of theatre backdrops and stunning natural landscapes: gladiators pose in mid-battle; an artist studies his muse in the studio; and Paris auditions for his Helen of Troy. These hyper-real tableaux vivants are transformed by modern dress and unfamiliar objects a maid with a vacuum cleaner is present at the Judgement of Paris bringing a twist to these familiar scenes.
In the monumental Constructing Helen from Helens Odyssey (2007), Antin presents her version of the legendary figure of Helen of Troy, known to be the most beautiful woman in Greek mythology. Helen is a giant clay sculpture, unconsciously waiting to be completed by caricature male artists. A typical reclining nude, she waits to be awoken into an artwork, an action determined only by the men crafting her. In A Hot Afternoon from The Last Days of Pompeii (2002) two barely clothed Greco-Roman wrestlers take the centre podium, intertwined in a battle at the benefit of on looking women. Antins wrestlers resemble a Greek third century sculpture, though they are tanned, oiled and their loincloths made from gold Lamé fabric. Here, ancient allegory travels through time to become a satirical Post-modern scene, where women occupy the gaze and men are the subject.
Antins seminal series The King of Solana Beach (1972) makes up the third element of the exhibition. Dressed in drag as a cloaked, bearded male, and much to the bemusement of the local civilians, Antin poses as the sovereign of Solana Beach (a coastal city in San Diego, known for its surfing culture). The King, petite in stature, parades the streets, surveying the land and offering counsel to local community members. Behind his grandiose guise, however, he is vulnerable; fighting a losing battle to maintain the rights to the land, which is inevitably being sold to redevelopers.
For Frieze Masters: Spotlight (5-8 October 2017) Richard Saltoun Gallery (Booth G12) will present a solo booth of Antins most seminal work, 100 BOOTS (1971). An epic visual story presented in the form of 51 postcards, this work captured the zeitgeist of 1970s America and re-defined the format of art. Antin photographed 100 black rubber (Wellington) boots in different scenarios which she printed as 51 black and white postcard images and posted to over 1,000 people, including artists, curators and critics. By doing so, she defied traditional methods of exhibition and instead combined the production and presentation of her work so that it would navigate the art world via mail, and reach a larger, more diverse audience. The boots, personified, collectively travel to eventually settle in New York. Reflecting their narrative, in 1975, the 100 BOOTS exhibition debuted at The Museum of Modern Art (MoMA), NY. This is the first time in London that rare vintage prints from this series will be presented alongside a full set of original postcards.