Eleanor Antin
American, born 1935
Collected by major museums
Tate, Museum of Modern Art (MoMA)
Selected exhibitions
open spaces | secret places: Works from the Sammlung Verbund, Vienna,
Centre for Fine Arts (BOZAR)
This Is a Portrait If I Say So: Identity in American Art, 1912 to Today,
Bowdoin College Museum of Art
Los Angeles to New York: The Dwan Gallery, 1959-1971,
National Gallery of Art, Washington, D.C.

The core of Eleanor Antin’s performances, films, photographs, written texts, and installations is her wide cast of alter egos from both historic and contemporary times, who explore issues of age, race, sex, and class. As critic Kim Levin aptly said, by “impersonating the past, Antin personalizes the issues and dilemmas of the present.” Antin began creating Conceptual art in the 1960s, and in the ’70s became widely known for using then-unconventional narrative forms in her artwork, such as autobiography and impersonation, always with a transgressive, deadpan humor. One of her most famous characters was Eleanora Antinova—an imagined forgotten black ballerina from Sergei Diaghilev’s productions—as whom she has written a fictitious memoir and made films, drawings, and performances.