"For us, the idea of having a work that has contradictions is very important—when, in affirming something, it includes itself and attacks itself. How can you put together all of these things that have nothing to do with each other? You use glue! Glue can be an idea, a word. You can use an ideological glue."
From "Art in the Twenty-First Century" Season 2 (2003)
Eleanor Antin is at work on her photographic series "The Last Days of Pompeii," a commentary on the affluent residents of the paradise of La Jolla, California. There is a comparison to be made, Antin explains, “between America, as this great colonial power, and one of the early great colonial powers, Rome.” In her highly-theatrical films, photographs, and performance art, Antin draws from the childhood play, an infatuation with stand-up and slapstick comedy, and the tragic humor that is part of her Jewish heritage. “I always tend to see the funny side of things,” she says. “That’s the richest experience, when it’s the laughter and it’s the tears together.”