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SEEING DOUBLE
Eleanor Antin's Roman Allegories
Thomas Zummer
RomanAllegories,
an exhibitionof photographsby EleanorAntin. Ronald
FeldmanFineArts, New YorkCity, February12-March 12, 2005.
is onlyallegory.
All the ephemeral
Goethe
and allusionare
among
Allegory
the most difficult of rhetorical
forms, a point not to be lost in
viewing EleanorAntin'srecentseriesof
large-scalephotographs.The title itself
is an allusion:RomanAllegories.Looking at these works, all of them created
in SouthernCalifornialandscapes,one
is instantlyawarethat somethingis going on, that the rich precisionof postures and places, both excessive and
overwrought,harbors something hidden, a secret,one which alludesto the
virtualitiesandlatenciesof photographic
representationby, first of all, naming
itself as allegorical. Roland Barthes
claimed that it is impossible to see a
photograph,since we characteristically
look at, and for, what it represents.
Photography,almost invisible, is subsumed by its referent-a face, a person,
or a place,but also a character,a type, a
pretense.In Antin'stableauxthere is a
remarkablestillnessto the images,as if
they embody,even proclaim,a "perfect
moment"of representation.In this re80
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in the very moment that the eye returns, reinscribing itself into the interval within which the photographic image is to be apprehended, that the
position of the spectator is naturalized
within the technical continuum. In its
passage from alterity to familiarity, the
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81
contingencyphotographyand allegory
sharecommon attributes:both have a
proleptic (cognitive, anticipatory)aspect and an analeptic(recognitive,culminating) aspect.4 In both cases the
proleptic (cognitive) is sensible only
within the analeptic(re-cognition),as
somethingalreadypast, or as occurring
or having occurredelsewhere,and the
recuperationof senseis re-mappedonto
the presentmaterialarmature.In Antin's
allegoricalworksthe tensionof heterogenouselementsstrainsand displacesthe
comfort of habitual reflexesand conventional interpretations.Her photographs present an aporia,an irresolution andapprehension,
in representation.
to
Barthes's
claim,one cannot
Contrary
resolvethe tension of the visible to a
mere reference;here, the photographic
is not entirely invisible, but persists,
problematically,
througha combination
of traces. In its mildest form, Antin
introducesan orderof a doubt or suspicion (that all is not as one might suspect) into the photographicscene, and
at its most vigorous, her works brilsomeof photography's
liantlydeconstruct
most intimatesecrets:thatphotographic
imagesare,in orderto be evidentiaryat
all, not fixed and secured from the
world, but permeable, suffused, and
bound up in the world.
At the Edgeof Night capturesthe dying
light of sunseton a scalethat cannotbe
approximatedby manual lighting or
digital simulation,even though we often take such special effects as real by
default.Instead,what focusesour attention on the globalaspect-landscapeis the intrusionof artificeof the most
localsort.Within the clamorof ephemera, Antin alludes to the hidden allenetworkin photographic,
gorical-figural
and subsequent,media. Small details,
82
U PAJ 83
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an epiphany to be earned? Or do we
simply apprehend the presence of the
ineffable: an allegory "secret as to the
dignity of its origin" . . . "public as to
the range of its validity" (Benjamin)?
Perhaps the superfluous bones are
present precisely as an excess, a supplement (and a metonym) for the allegorical figure of mortality. So, the allegory is
doubled, coming back, as a citation, to
address the image from an unexpected
In The Gamblers,a young man in Roman dress sits opposite a skeleton loosely
wrapped in a linen cloth while the
empty gaze of the eyeless skull apparently rests on the shard of bone in his
hand; there are other bones, vertebrae,
strewn about the stone steps between
them. Whose bones are being wagered?
Or played? It would seem that such
fragmentswould be integral to the structural integrity and stability of both the
young man, and the skeletal figure. Are
they the bones of an absent other?
Whose? Are there proper names to be
assigned?Are there stories or lessons to
be derived?A riddle to be deciphered or
region.
ZUMMER / SeeingDouble 0
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83
At the Edge of Night (2004). Photo: Courtesy Ronald Feldman Fine Arts, New York.
84
PAJ 83
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Above: 7he
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85
PAJ 83
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NOTES
6. In a recent correspondence(January
2006) EleanorAntin writes:
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87
88
U PAJ 83
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