Dec 2, 2018
Typography As Disclosure, lecture poster, 1989. Design: Allen Hori.
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Typography As Disclosure, lecture poster, 1989. Design: Allen Hori.
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I still dislike Deconstructionist!
Vor
Frank Edie. Affiche de concert (USA-1978).
Caving man
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*casually listens to deconstructionist*
amidoingitrite?
The photographs published in _Being Antinova_ function in the same way: they dispute the aura of detachment and and omniscience that attends documentary photography. The images are two types: [Staged photographs,] [as with the still of her (Jewish) as Antinova (Black), playing Pocahontas (Indigenous, raced),] to suggest the narrative thrust of the show... showing the persona playing the role of a Native American by wearing a costume that approximates the stereotype of a Native American maiden, and evoking loose narrative elements. The "candid" photographs of Antinova conjure up the conventions of documentary photography only to complicate the supposed neutrality and impartiality... [purporting] to record Antinova's upper-class lifestyle at the same time that it documents Antin's performance as Antinova... the photographs show her face to be several shades darker than her hands. (87-88) Her color is superficial, not skin deep. Ironically these documentary photographs undermine the authority and truthfulness of the convention at the same [time] that they play up her performance of identity. (89)
Smith, Cherise. Enacting Others. Durham: Duke UP, 2011. 87-90. Print.
On the documentary evidence used in recording the performance of Antinova, and presented in the book "Being Antinova", and its relevance to ideas about narratives of identity present in the 1970/80s. Regarding Smith's understanding of Antin's place in the contemporary shifts around feminist critical theory:
As a self-contained object, Antin's Being Antinova sutures the perceived rupture between feminist art practices of the 1970s and 1980s. It does this by undermining the weighty seamlessness with which narratives are endowed; by offering up problematic master narratives that question the power of the author and the objectivity of documentary photography itself; and by disrupting the idea that identity is authentic, stable, and fixed. In so doing, the book labors against the notion that postmodern, feminist, or deconstructionist methods are mutually exclusive (90)
