Seeing Double Eleanor Antin's Roman Allegories

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Seeing Double Eleanor Antin's Roman AllegoriesAuthor(s): Thomas ZummerSource: PAJ: A Journal of Performance and Art, Vol. 28, No. 2 (May, 2006), pp. 80-88Published by: on behalf ofMIT Press Performing Arts Journal, IncStable URL: http://www.jstor.org/stable/4140074Accessed: 28-11-2015 06:57 UTC

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SEEING

DOUBLE

Eleanor Antin's

Roman

Allegories

Thomas

Zummer

Roman

Allegories,

n

exhibition

of

photographs

by

Eleanor

Antin.

Ronald

FeldmanFine

Arts,

New

York

City, February

2-March

12,

2005.

All

the

ephemeral

s

only

allegory.

Goethe

Allegory

nd

allusion re

among

the most

difficult

of rhetorical

forms,

a

point

not to be

lost

in

viewing

EleanorAntin's

recentseriesof

large-scale hotographs.The title itself

is an

allusion:Roman

Allegories.

ook-

ing

at

these

works,

all

of

them

created

in

SouthernCalifornia

landscapes,

ne

is

instantly

aware hat

something

s

go-

ing

on,

that the rich

precision

of

pos-

tures and

places,

both

excessive

and

overwrought,

harbors

something

hid-

den,

a

secret,

one

which

alludesto the

virtualities nd

atencies

f

photographic

representation

y,

first

of

all,

naming

itself as

allegorical.

Roland

Barthes

claimed that it

is

impossible

to

see a

photograph,

ince

we

characteristically

look

at,

and

for,

what

it

represents.

Photography,

almost

invisible,

is

sub-

sumed

by

its referent-a

face,

a

person,

or a

place,

but also a

character,

type,

a

pretense.

In Antin's

ableaux here is a

remarkabletillness o the

images,

as if

they embody,

even

proclaim,

a

perfect

moment

of

representation.

n

this re-

spect

they

aremonumental

and

descrip-

tive,

precious

and

ephemeral,

raits

hey

share with both

portraiture

and

por-

nography.

At the

same time

they

are

also excessive,anotherattributeof the

allegorical,

not

only

in their

orna-

mentality,

but

in their

figural

range

as

well.

But

perhaps

heir

most

surprising

effect

is

that

they

bring

about

an

unex-

pected

reflection

on the

photographic

itself.

Photography,

ormented

by

the

ghost

of

painting,

bearsa secret

n

every

frame.

Is The

Triumph f

Pana referenceo the

painting

f

Signorelli,

r

Rubens,

Snyder,

or Poussin?'

Does

it refer

o

the

legend

of

Pan, who,

as the issue

of

Hermes

(and

a

nymph),

is

a

figure

n

need

of

interpretation?

Or

does

Antin

refer to

the doubled

figurality

f

Baroque

paint-

ing

and

allegory

(and

so also

to Ben-

jamin

or

Deleuze)?

An

actor

in

a

film

(or a photograph), or example, s alle-

gorical

o the

extent,

that

he or

she is a

doubled

being,

one

standing

for,

and

80

n

PAJ

83

(2006),

pp.

80-88.

?

2006

Thomas

Zummer






before,

another.There

is a

commensu-

rability,

at the

level of

identification,

between the

traits of actors

and the

characters

they

play;

both

biography

and

pretense

are

mediated

to

such a

degree

that

they

are

almost

indistin-

guishable,

and the

secrecy

of

the

private

life of

celebrity

becomes

highly

com-

modified:what is

[fill

in

name]

really

like?

Photography's

onceit,

that there is

a

single,

perfect,

moment,

which,

through

the

intercession f the

camera,

ne

might

capture,2

arrest,

or fix, is belied by a

phenomenological

and technical flaw:

the

camera,

as Walter

Benjamin

notes,3

does not

see,

and

consequently

ts

sec-

ond

sight apprehends

n

event within

a

purely

echnical

nterval,

o which

the

eye

is

at best

an

enabling

and

external

supplement.

This is

most clear

in

the

current

generation

of

consumer-level

digital

cameras,

where

the

instantaneity

of sightandtouch enablean automatic

process

which

introduces

a

gap-a

de-

ferred

nterval-between

perception

nd

recording:

push

the

button,

and

a few

moments

later the

images

is

taken.

The

perfect, unique,

moment is no

longer

mmediate,

but

mediate,

and the

enabling

eye

operates

at

best as a reso-

lute

approximation,

nd

most often

as a

familiariction.The presumption f the

intending

eye,

whether

factual or

po-

tential,

is

revealedas inessential o

the

technology,

and,

within this

recogni-

tion,

our

own

investment

n

the

visible

is rendered

problematic.

However,

t is

in the

very

moment that the

eye

re-

turns,

reinscribing

itself into the inter-

val within

which the

photographic

im-

age is to be apprehended, that the

position

of

the

spectator

is

naturalized

within

the technical

continuum.

In

its

passage

from

alterity

to

familiarity,

the

eye

once

again

takes

up

residence,

within

the

register

of

the

image,

as commensu-

rate

with

a

presumed

originary

subject-

position (e.g.,

the identification of

the

eye

that

initially

beheld

the

represented

event

and that

which

now

occupies

the

position

of a

previous

camera-operator

or

portraitist).

It is

in this

important

context, too,

that

Antin's

photographic

project

is

allegorical.

Allegory,

rom

the Greek

allos

+

agoreuein

( other

+

speakopenly,

in

public

com-

munity,

i.e.,

in

the

marketplace

or

agora)

is

a rhetorical term

meaning

to

speak

otherwise.

Agoreuein

has the con-

notation

of

public,

open,

declarative

speech,

a sense

inverted

by

the

prefix

allos,

thus

giving

something

like

other

than

open, public,

speech. Allegory

is

often understood

as

an inversion

wherein

there is couched

something

else,

some-

thing

different,

than

can

be seen

or

grasped

in the literal

sense.

It is

tradi-

tionally defined as an extended meta-

phor,

when,

for

example,

the

events

of a

narrative

obviously

and

continuously

refer to

another

simultaneous

structure

of

events,

ideas

or

phenomena.

Thus,

allegory

is

performative

in

that

it not

only

states

or

presents

something,

but

it

also

accomplishes

an

extension

of meta-

phors

carrying

over

from

one

register

of

sense to another.

Like

metaphor,

allegory

is also destruc-

tive;

it

destroys

the

normal

expectation

that

one

has of

language,

that

words

mean what

they say.

For words

to

mean

what

they say

while

saying

something

else,

implies

a

minimally

performative

disposition

within

their

specific

context.

Allegory

is

interactive,

and

requires

both the

(self)

conscious

collaboration

of an

audience and a

com-

mon

ground

or

context.

In

their

radical

ZUMMER /

Seeing

Double

N

81






contingency

photography

and

allegory

share

common

attributes:

both

have a

proleptic

(cognitive, anticipatory)

as-

pect

and an

analeptic

recognitive,

ul-

minating)

aspect.4

In

both

cases the

proleptic (cognitive)

is sensible

only

within the

analeptic

(re-cognition),

as

something

already

past,

or as

occurring

or

having

occurred

elsewhere,

and

the

recuperation

f

sense s

re-mapped

nto

the

present

material

rmature.

n

Antin's

allegorical

works

he tensionof

heterog-

enous elements

trainsand

displaces

he

comfort

of

habitual reflexes

and con-

ventional

interpretations.

Her

photo-

graphs

present

an

aporia,

an irresolu-

tion and

apprehension,

n

representation.

Contrary

o

Barthes's

laim,

one

cannot

resolve the

tension

of the

visible to a

mere

reference;

ere,

the

photographic

is

not

entirely

invisible,

but

persists,

problematically,

hrough

a

combination

of traces.

In

its

mildest

form,

Antin

introduces n order

of a doubt or

suspi-

cion (that all is not as one might sus-

pect)

into

the

photographic

cene,

and

at its

most

vigorous,

her

works bril-

liantly

deconstructomeof

photography's

most

intimate

ecrets: hat

photographic

images

are,

n

order

o

be

evidentiary

t

all,

not

fixed and secured

from

the

world,

but

permeable,

suffused,

and

bound

up

in the

world.

At the

Edgeof Night

captures

he

dying

light

of

sunset

on a

scale

that

cannot be

approximated

by

manual

lighting

or

digital

simulation,

even

though

we of-

ten take

such

special

effects

as real

by

default.

nstead,

what focuses

our atten-

tion on the

globalaspect-landscape-

is

the intrusion of artificeof the most

localsort.Within the clamorof ephem-

era,

Antin

alludes to the hidden alle-

gorical-figural

etwork

n

photographic,

and

subsequent,

media.

Small

details,

such

as the fact that amidst

he

pretense

of active

life around a Roman

bath,

there

s no indication

of real

motion,

no

ripples carring

he surface

of

the

water,

provide

us with

a renewed

ense of the

uncanny.

In

early photographicpro-

cesses,

ong

exposure

imes

produced

a

blurring

of

the

motion of

water,

a

pho-

tographic

error

hat

simultaneously

e-

cured

both

the

evidentiary

tatus

and

the

artifactuality

f the

image.

Contem-

porary

concern

with

the

relation

be-

tween evidence

and artifice-think

of

JeffWall,

Matthew

Barney,

ik Muniz-

has

always

been

latent

n Antin's

photo-

graphic

(and

cinematic)

works.In Ro-

man

Allegories

these

interests

are

foregrounded

n

order

to address

and

make

salient

other,related,

questions

of

reference,

consequence,

access,

and

meaning.

Much

of the

wit and

whimsy

in these works

resides

in the

play

on

notions

of scale

and

place-swapping

out

one

place

for another

n a

kind

of

spatialparonomasia.n Antin'scase the

swapping

out

of

landscapes-Southern

California

or

Mediterranean-plays

on

the

long

history

of

Hollywood-type

ub-

stitution.

In a recent

correspondence

(January

006),

the artist

writes:

Southern

California

s not un-

like southern

Italy.

We shot

a

numberof the Allegories, nd

almost

all of

Pompeii,

at

my

friend

Marianne McDonald's

villa.She's

classicist

who

trans-

lates

the Greekdramatists

nd

adapts

and transforms

them

into

a

racy

modern diom.

She

happens

to have a

very large,

uncultivated

estate which

she

offers

o us

for

our

work.

I

have

still

to

figure

out how to

make

use

of

her 20 or so

peacocks

who

unfortunately

ave

always

82

U

PAJ

83






lost their

splendor

by

the

time

I

shoot

in

the

summer

...

The

remaining

images

were shot at

Torrey

Pines Beach at

7

AM,

he

pool

and the caves of

my

friend's

house

in

the fallen rock

zone

in

the

wild's of

Jamul

close

to

the

Mexican

border,

indoors

in

the

University

of

California-San

Diego

Mandeville

gallery

which

was

happily

closed for the

sum-

mer

and

so

available to us.

The

Players

s

a

hilarious

misregistration

of ancient

and

contemporary

tropes

and

topologies,

a concatenation of

signs--contemporary

copies

of Roman

copies

of

Greek

stone craft

coupled

with Roman

copies

of

contemporary

sport/leisure

craft-strewn

about

a

lush,

arboreal,

tennis

court.

In

Going

Home

five of the six

figures present

walk out

into

the

gray

sea,

while the

sixth,

a

young

girl,

sits on

a steamer

trunk

accompanied by a doll and a crow. All

of

the

figures

hold

open

umbrellas. It

is

a

moving

and

mysterious

image,

a

rhe-

torical

inversion,

a

witty

play upon

dadaist

tropes.5

In

The

Gamblers,

a

young

man

in

Ro-

man

dress sits

opposite

a skeleton

loosely

wrapped

in

a linen cloth

while

the

empty gaze of the eyeless skull appar-

ently

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

fragments

would be

integral

to the struc-

tural

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

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

supple-

ment

(and

a

metonym)

for

the

allegori-

cal

figure

of

mortality.

So,

the

allegory

is

doubled,

coming

back,

as a

citation,

to

address

the

image

from

an

unexpected

region.

There is

a structural

symmetry

between

the

notion

of

posing,

and

the order

of

looking.

It is not a

simple

relationship,

nor

is

it

necessarily

circumscribed

as a

closed

theoretical

accomplishment,

but

stands out

in

these

works

as a

palpable

disturbance.

In

Antin's works

we are

invited,

even

induced,

to consider

anew

the nature

of the

pose.

To

pose

is

to

cease,

to

pause

or

to

rest,

but

it also

means to

suppose

or

to

assume,

or

set

forth (for the sake of an argument, for

example),

or to

place

in

a

difficulty.

When

it refers

specifically

to

an

artist's

model,

the

meaning

of

pose

is

to

place

in,

or

assume,

an

attitude.

There

is also

the

accompanying

sense

that

such

an

attitude

is somehow

inauthentic,

or that

it masks

or

impedes

authenticity,

or,

as

often as

not,

that

it is a simulation.

It

may be intentional or accidental, but

the

photographic

pose

is

always

marked

a

posteriori

by

its

status

as

an artifact.

Reference

is

both arrested

and set

forth

in

photographic

representation.

Antin's

doubled

artifice

underscores

questions

of

reference

by

introducing

an

economy

of

possible

secrets

into the

photographic

artifact.

Photography

is

always,

pro-

foundly, allegorical, always outside,

lit-

erally

cut

off,

from its referent.

It

is with

the return

of the referential

field,

its

doubling

mobility

and

virtuality

that

ZUMMER /

Seeing

Double 0

83






At the

Edge of Night

(2004).

Photo:

Courtesy

Ronald Feldman Fine

Arts,

New York.

84

U

PAJ

83






Above: 7he

7i'iumph

of'Pan

('after

Poussin)

(2004);

Below: ihe

Gamblers

2004).

Photos:

Courtesy

Ronald Feldman Fine

Arts,

New

York.

ZULMMER

See'ig

)Double

85






the

photographic

s

rendered

allegori-

cal.

Is

there some

significance

to

a

certain

figure,

such that we

should rec-

ognize

him

or

her,

as an

actor

playing

a

figure

from

classical

mythology,

or

Ba-

roquepainting?

Antin's

models

are

in-

terstitial

figures,

n

that

they

are

neither

assigned

to the

register

of

identity-

who

these

people

might

be-nor

to

that

of

identification-who

they

repre-

sent-but

remain both

linked

and

ir-

resolute

as

a

visual artifact.'

Is

there a

hidden

meaning

o be

discerned

n

that

relation?

n

pointedly

not

stabilizing

or

resolving

uch

matters,

and

in

spite

of

the massiveand evident ndex of

labor,

Antin

introduces

just

enough

unease

into

the

process

of

reading

a

photo-

graph

to cause the

viewer

to

reflect

upon

the conditions of

apprehension

and

consumption

of

photographic

m-

ages

in

general.

Is

Comic

Performance

performance

f

aperformance?fso,what sperformed?

For

whom?

Without

a

paratextual

lue

to

its

interpretation

the

title does

not

immediately

uggest

a

specific

allegory),

we

are

eft to

our own devices o discern

what

might

be

at

stake

within

this

scene.

A

fragment

of an iron

gate

sug-

gests

ncarceration

r

containment,

and

the

central

figure, caught

in a

vulner-

able and somewhatinelegantpose, is

mirrored

y

another

figure,

n

the

lower

left

quadrant

of

the

scene,

whom

we

must

assume is next. It is

unclear

whether

the

posed

figures

are

also

pre-

tending--within

their

pose-to

some

distress r

trepidation,

r

they

are

merely

playing

a

game

within a

game.

WhoAre

We,

WhereAre

We

Going?

imilarly

re-

casts

allegorical

elements with minimal

clues to their resolution. Is

there an

appropriation

of the

allegorical,

recast

and

remapped

onto

the

hidden con-

tours of the

psychoanalytic?

Or is it

a

concatenation,

an admixture

of

myth

and

fairytale,

a

play

on the

ungrounding

of

common

tropes?

We

may

ask,

in

another

work,

who the

subject

of

Alice's

Dream

might

be.

Shall we

assume

that

the child

in

the

center

of the

composi-

tion bears that

proper

name? Or is it

the

name

of

another

Alice?

Is this

name

permeable

to

other

references,

inver-

sions,

or

derivations?

Or is

the

entire

mise-en-scene

the fabrication

(of

a

fab-

rication)

of an

absent

dreamer?

It

is,

in

every

sense,

impossible

to tell.

There is an unruliness to

allegory,

an

impossibility

to

set

to rest its

references,

tempered

only perhaps

by

unlikelihood,

or

the

index

of

labor

invested

in

making

sense. Antin's

allegories

operate

by

re-

vealing

that such

mimicry

covers

a

kind

of

hole,

or

lacuna,

a

negative

space

(mise-en-abyme)

around

which

various

discourses,

and

even

desires,

are

orga-

nized and articulated. It is only via the

claim

of the

absent

(and

therefore

phantasmatic)

source

of the

image

in

the

stains

of

the

photochemical

trace,

recu-

perated

through

the

engaged

presence

of

a

spectator,

that

the

evidentiary

sta-

tus of

photography

is

grounded.

Pho-

tography

as an

art of

memory

is

a

prosthesis

to our

own recall. Paradoxi-

cally, it induces recognition in us of

things

which

we

cannot

remember,

which

have

preceded

us,

or

taken

place

elsewhere,

which

we know

only

through

reflections,

reproductions,

and

rumors,

or

which we

might

suppose

or

imagine

to have

existed,

and

which

we

organize

as

such,

from

outside.

Allegory

is a

perennial figure,

and

there

are

many

contemporary

works

that are

richly

allegorical,

works which

accom-

plish

the containment

of

representation,

86

U

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83






and delimitation

of

interpretation,by

circumscribing

or

framing

their

se-

crets in

close,

often

authoritative,

proximities

(while

often

unintention-

ally

producing

other

figures,

e.g.,

an

allegory

of

means,

or of

production,

temperedby

an

array

of

carefully

on-

trolled

hermeneutic

keys 7).

Antin's

works,

on the

other

hand,

brilliantly

and

relentlessly

voke

the

profound

un-

ruliness

f

allegory,

nd the

uncontaina-

bility

of secrets.

NOTES

1. In this case it is given away from

outside,

by

the

title,

in

the

parenthetical

supplement

(after

Poussin).

2.

The German

erm

aufnamen,

sed

by

Walter

Benjamin,

means

literally

o

arrest,

apprehend

r

record;

t

has

substantive m-

plication,

eferring

lso

o that

which

records.

The German

word

for

snapshot,

or

ex-

ample,

is

instantaufnamen.

3. WalterBenjamin, The Workof Art

in

the

Age

of

Mechanical

Reproduction,

n

Illuminations,

Section

XII,

edited

by

H.

Arendt and

translated

by

H.

Zohn. New

York:

Harcourt,

Brace&

World,

1968.

4.

See

Joan

Ramon

Resina,

The Con-

cept

of

After-Image

nd the

Scopic

Appre-

hension

of the

City,

in

After-Images

of

the

City,

edited

by

Joan

Ramon

Resina and

Dieter Ingenschay.thaca:CornellUniver-

sity

Press,

2003.

Resinadiscusses

prolepsis/

analepsis

n

the

following

manner:

Between

the

prolepsis

of

the

impres-

sion-a

fore-sight -and

he

analep-

sis

of

recognition, seeing

organizes,

and,

in a

sense, creates,

perception.

Seeing,

then,

consists of

the time

intervening

between

impression

and

fixation, or rather,of the event or

sum of

events

allowing

us

to

focus

on

a

fragment

of

the

visual

field. But

since this

activity

begins

in

the

past

and

fully

holds hat

past

o the

present

of

vision,

it

comprises

not

only

the

memory

function but also a sublimi-

nal harmonization

of the

different

moments

in

the

visual take.In

other

words,

seeing

implies

a certain

ten-

sion within and resolution of the

image.

5.

The references to

any

variant

of

the

phrase

of Isidore

Ducasse,

Comte

de

Lautreaumont,

o

applauded

by

dadaists

and

surrealists,

concerning

a chance

en-

counter

ofan

umbrella

and a

sewing

machine

on a

dissecting

table.

6. In a recent

correspondenceJanuary

2006)

Eleanor

Antin

writes:

Some

of the

actors

had

been in

The

Last

Days

of

Pompeii.

Many

were

artist'smodelshere

n San

Diego,

and

occasional ctors

anddancers.One

of

my satyrs

is a successful

character

actorin

films,

usually

playing

Italian

mobsters.He came

down

from

L.A.

because

he

felt that

being

in

my piece

brought

him

closer

to his

Roman

roots.

As

you

know,

I invented

a

wandering

band

of

players

out

of a

supposed

Pliny

the

Younger

quote,

I

don't

re-

memberwhatthat

was

precisely,

ome-

thing

like That

summer,

there

ap-

peared

a

wandering

band of

players,

who met

with some

success

until

they

disappeared

ithout

trace,

eaving

be-

hind one

of their

number.

They

are

actors based

loosely

on

Commedia

types

who

began

back

then

in

the

Romanworld.

They

are

tropes,

cons,

whose

very

presence

projectallegory.

They

are

players,

o

they're

both real

and not

real,artists,

outsiders,

wan-

derers

hrough

an

alien

landscape

of

strangers nd ruins.The strongman,

the

trickster,

he

poet,

the

lover,

Col-

umbine,

and the child.

The

strong

man,

Nikolai,

s

my

chiropractor,

ho

ZUMMER /

Seeing

Double

0

87






had

had a

featuredrole

in

my

film

The

Man

Withouta

World

back in

1990.

He

played

a

strong

man then

too,

only

he was a

gypsy

and not

a

Roman.

Like

all

of us

here

in

South-

ern

California,

he's a

gym

buff

and

looks it. The trickster sVan,a friend

also,

besides

being

my

assistant

Pam's

boyfriend.

He's a

sculptor

as

well as

an

artist's

model.

Charles,

the

lover

and

gambler,

s

an

actor

from

L.A.

whom I

met at a

friend's

party

and

signed

on then

and there.

Eric,

or

Erica

as he'sknown

professionally,

e

plays

the

poet,

is a well known

drag

queen

who works

drag

shows for

straights

in

Vegas

and San

Diego.

Sabrina,

he beautiful

Columbine

who

is also the child's

mother,

is a

belly

dancer and artist'smodel. She had

also been in severalof the

Pompeii

photographs.

choseNikki, the cool

beautiful hild

as,

for want of abetter

term,

the

watcher,

ecause atherhan

project

warmth

or

soul,

she

projected

interiority.

7.

Matthew

Barney

s a

good

example

on

all accounts.

THOMAS

ZUMMER s a

scholar,writer,

and

artist.

He contributed

o the

Whitney

Museum

catalogue

nto the

Light:

The

Projectedmage

n

American

Art

1964-1977

(2001)

and is

currently

completing

a

book

on

the

early

history

of

reference

ystems

entitled

Intercessionary

echnologies:

rchive/

Database/Interface.

e

exhibits

his

drawings,

culptural,

and

media

works

worldwide.Recent

exhibitions nclude

Museumvan

Hedendaagse

Kunst/

Antwerpen,

Mutter

Museum,

PA,

Frederieke

aylor

Gallery,

NY,

and the

Cleveland nstituteof Art.Zummer s currentlySeniorLecturern Critical

Studies at

Tyler

School of

Art/Temple

University

and

Regular

Visiting

Professor

n

the

Transmedia

Programme/post-graduate

t the

Hogeschool

Sint

Lukas,

Brussels/Associatie niversite

Leuven,

Belgium.

88

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Documents

Seeing Double Eleanor Antin's Roman Allegories