100 BOOTS is the sweet version of Jack Kerouac’s \u00abOn the Road\u00bb.<\/div>\n

Somehow, the images that didn’t make it into the final piece were too dramatic, too political, suggestive of other meanings. So they remained as photographic prints, not postcards, and were stored in Antin’s studio, where they were left forgotten for 50 years. Among them there were images of the boots’ adventures in New York, then they moved and exhibited at the MOMA museum in 1973 and never exhibited again.<\/div>\n

100 BOOTS is a travel diary, a book of adventures, an album of photographs of gumboots strategically placed in various American settings. A mail-art project in which Antin sends these postcards to 600 recipients over the course of two years, rethinking the concept of a single work.<\/div>\n

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Eleanor Antin (born 1935 in the United States) is a crucial figure in the history of performance art and one of the most prolific artists of the last three decades. She has worked across many forms of media, including live art, installation, independent cinema, photography, video, drawing, painting, and writing.<\/p>\n

Antin began as a conceptual artist in the 1960s and played a formative role in the expansion of feminist art through the use of non-traditional narrative forms such as biographies, autobiographies, and alter-egos or personas.<\/p>\n

Her nomadic approach to different types of media has allowed her to explore issues that are central to her, including explorations of herself, gender, race, culture, and Jewish identity.<\/p>\n<\/div>\n<\/div>\n<\/div>[\/et_pb_text][et_pb_text module_class=\u00bbtext2″ _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb custom_margin=\u00bb0px||0px||false|false\u00bb custom_padding=\u00bb0px||90px||false|false\u00bb global_colors_info=\u00bb{}\u00bb locked=\u00bboff\u00bb]

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With the collaboration of MACBA<\/p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=\u00bb1_5,1_5,1_5,1_5,1_5″ use_custom_gutter=\u00bbon\u00bb gutter_width=\u00bb1″ make_equal=\u00bbon\u00bb _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb width=\u00bb900px\u00bb max_width=\u00bb100%\u00bb min_height=\u00bb101.7px\u00bb custom_margin=\u00bb0px|0px|0px|0px|false|false\u00bb custom_padding=\u00bb0px||0px||false|false\u00bb locked=\u00bboff\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_column type=\u00bb1_5″ _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbmargin-right: 20px !important;\u00bb global_colors_info=\u00bb{}\u00bb][et_pb_image src=\u00bbhttps:\/\/revela-t.cat\/2023\/wp-content\/uploads\/2023\/04\/13-MACBA.jpg\u00bb title_text=\u00bb13-MACBA\u00bb url=\u00bbhttps:\/\/www.macba.cat\/es\u00bb url_new_window=\u00bbon\u00bb _builder_version=\u00bb4.20.2″ _module_preset=\u00bbdefault\u00bb max_width=\u00bb200px\u00bb custom_margin=\u00bb||0px||false|false\u00bb custom_padding=\u00bb||0px||false|false\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_image][\/et_pb_column][et_pb_column type=\u00bb1_5″ _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb custom_css_main_element=\u00bbmargin-right: 20px !important;\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_column][et_pb_column type=\u00bb1_5″ _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_column][et_pb_column type=\u00bb1_5″ _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_column][et_pb_column type=\u00bb1_5″ _builder_version=\u00bb4.19.5″ _module_preset=\u00bbdefault\u00bb global_colors_info=\u00bb{}\u00bb][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

Eleanor Antin 100 Boots Can Baylach < Exhibitions 100 BOOTS is the sweet version of Jack Kerouac’s \u00abOn the Road\u00bb. \u00a0 Somehow, the images that didn’t make it into the final piece were too dramatic, too political, suggestive of other meanings. So they remained as photographic prints, not postcards, and were stored in Antin’s studio, […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-8012","page","type-page","status-publish","hentry"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/pages\/8012","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/comments?post=8012"}],"version-history":[{"count":0,"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/pages\/8012\/revisions"}],"wp:attachment":[{"href":"https:\/\/revela-t.cat\/2023\/wp-json\/wp\/v2\/media?parent=8012"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}