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Series of postcards depicting 100 black, rubber boots in various situations. Photographs taken from Feb. 9, 1971 until May 16, 1973, and mailed between March 15, 1971 and July 9, 1973; not always mailed in the order the photographs were taken. 100 Boots, triumphant, marched into New York's Museum of Modern Art in May 1973, the culmination of a remarkable work that embodied the spirit of generation and changed the meaning of art. Celebrating this extraordinary and innovative postcard series, here is a collection of all 51 installments of artist Eleanor Antin's epic visual narrative. Full of discerning social commentary, 100 Boots powerfully evokes the America of the Vietnam era. The boots begin innocently enough, engaging in everyday suburban activities - going to the market, church, and drive-in movies. Later, disillusioned, they trespass on private property, symbolically announcing their solidarity with the thousands of Americans participating in the antiwar movement. Unable to avoid the draft, 100 Boots too go to war. By the time these legendary heroes arrive in New York, they have become cultural icons, representatives of the new American experience. Like all good art, Antin's ongoing letter to America - whether spilling out of mailboxes or collected in book form - continues to provoke a response.

Antin, Eleanor,

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Developmental psychology --- Jewish religion --- Sociology of culture --- Art --- Race --- Feminist art --- Identity --- Judaism --- Artists --- Book --- Antin, Eleanor --- Ukeles, Mierle Laderman --- Chicago, Judy --- Rosler, Martha --- United States of America

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An analysis of the complex engagements with issues of identity in the performances of the artists Adrian Piper, Eleanor Antin, Anna Deavere Smith, and Nikki S. Lee.

Performance art --- Ethnicity in art. --- Gender identity in art. --- African Americans in art. --- Political aspects. --- Social aspects. --- Antin, Eleanor. --- Lee, Nikki S., --- Piper, Adrian, --- Smith, Anna Deavere. --- Ethnicity in art --- Gender identity in art --- Political aspects --- Social aspects

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Artists: Francis Alys, Eleanor Antin, Janine Antoni, Mowry Baden, Jim Campbell, Janet Cardiff, Hamish Fulton, Sharon Harper, Martin Kersels, Tom Marioni, Matthew McCaslin, George Bures Miller, Curtis Mitchell, Francois Morelli, Paul Ramirez-Jonas, Douglas Ross, Nancy Spero, Rudolf Stingel, Richard Wentworth.

Art --- Art, Modern --- Art, Modern. --- Gehen --- Kunst. --- Marche dans l'art --- Walking in art --- Walking in art. --- Alÿs, Francis, --- Alÿs, Francis, --- Antin, Eleanor, --- Antin, Eleanor. --- Antoni, Janine, --- Antoni, Janine. --- Baden, Mowry, --- Baden, Mowry. --- Campbell, Jim, --- Campbell, Jim, --- Cardiff, Janet, --- Cardiff, Janet, --- Fulton, Hamish, --- Fulton, Hamish. --- Harper, Sharon, --- Harper, Sharon. --- Kersels, Martin, --- Kersels, Martin, --- Marioni, Tom, --- Marioni, Tom, --- McCaslin, Matthew, --- McCaslin, Matthew, --- Miller, George Bures, --- Miller, George Bures, --- Mitchell, Curtis, --- Morelli, François, --- Morelli, François, --- Ramírez Jonas, Paul, --- Ramírez Jonas, Paul, --- Ross, Douglas, --- Spero, Nancy, --- Spero, Nancy, --- Stingel, Rudolf, --- Stingel, Rudolf. --- Wentworth, Richard, --- Wentworth, Richard, --- 1900-1999.

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Staged bodies is gewijd aan de talrijke manieren waarop de kunstfotografie sinds 1970 het lichaam ensceneert. De interesse van de postmoderne cultuur voor bepaalde vormen van fictie, hybridisatie en simulatie, leidde tot ingrijpende veranderingen in de benadering van het lichaam. Dit laatste wordt niet langer gezien als een gesloten en stabiele entiteit, maar veeleer als een flexibel projectiescherm, dat toelaat om fundamentele vragen te stellen over representatie, identiteit en de relatie tussen de geslachten. In plaats van een onveranderlijk biologisch gegeven, is het lichaam voortaan een sociale constructie, die we moeten bekijken doorheen het prisma van diverse ensceneringen in bepaalde historische en culturele contexten. In de fotografie komt deze overgang van een natuurlijk en permanent lichaam naar een ideologisch bepaald en modelleerbaar lichaam neer op het loslaten van een documentaire benadering en het vervangen daarvan door een ‘staged photography’, een geënsceneerde fotografie. Deze pretendeert niet langer dat ze de realiteit reproduceert, maar maakt ze tot theater en fictie. Staged bodies toont werk van beroemde kunstenaars als Eleanor Antin, Balthasar Burkhard, Victor Burgin, Lili Dujourie, Valie Export, Patrick Faigenbaum, Nan Goldin, Michel Journiac, Jürgen Klauke, Les Krims, Zoe Leonard, Urs Lüthi, Duane Michals, Shirin Neshat, Orlan, Luigi Ontani, Martin Parr, Cindy Sherman, Hiroshi Sugimoto en Jan Vercruysse.

fotografie --- portretfotografie --- enscenering --- zelfportret --- zelfportretten --- performances --- twintigste eeuw --- Burkhard Balthasar --- Dujourie Lili --- Leonard Zoe --- Orlan --- Sherman Cindy --- Sugimoto Hiroshi --- Vercruysse Jan --- Antin Eleanor --- Valie Export --- Goldin Nan --- Journiac Michel --- Klauke Jürgen --- Lüthi Urs --- Michals Duane --- Ontani Luigi --- Faigenbaum Patrick --- Krims Les --- Neshat Shirin --- Parr Martin --- Burgin Victor --- 77.041 --- Exhibitions --- 760.4 --- 766.2 --- lichaamstaal --- lichaam in de kunst --- LGBTQ+ (lesbian, gay, bisexual, transgender, queer and others) --- LGBT (lesbian, gay, bisexual, transgender) --- genderexpressie --- seksualiteit --- Burgin, Victor --- Parr, Martin --- Neshat, Shirin --- Krims, Leslie --- performance --- conceptuele kunst --- Faigenbaum, Patrick --- Ontani, Luigi --- Michals, Duane --- Lüthi, Urs --- Klauke, Jürgen --- Journiac, Michel --- Goldin, Nan --- Export, Valie --- Antin, Eleanor --- Vercruysse, Jan --- Sugimoto, Hiroshi --- Sherman, Cindy --- Leonard, Zoe --- Dujourie, Lili --- Burkhard, Balthasar --- fotografie als kunst --- portretfotografie - kinderfotografie, naaktfotografie --- Photography --- self-portraits --- commercial portraiture --- body arts [discipline] --- anno 1900-1999 --- artistieke fotografie