Lot 409: JANINE ANTONI

ARTIST'S DATES
b. 1964

24 by 20in. 61 by 50.8cm

c-print, in three parts

Executed in 1993-94, this work is number three from an edition of six.

Glasgow, Centre for Contemporary Arts; Dublin, Irish Museum of Modern Art, Janine Antoni, Slop of the Tongue, March-April, 1999, p. 33-35, illustrated in color

Ex. Cat., Boston, Grossman Gallery, School of the Museum of Fine Arts, Self/Made Self/Conscious: Janine Antoni, Bruce Nauman, October-November 1994, another example illustrated
Ex. Cat., Barcelona, Fondación "La Caixa," Janine Antoni: Activitats Esculturals, June-July 1996, another example illustrated in color
Art Monthly, Vol. No. 218, July-August, 1998, p. 54, illustrated in color
Burkhard Riemschneider and Uta Grosenick, Art at the Turn of the Millennium, Cologne, 1999, p. 32, another exampled illustrated in color
Dan Cameron, Amy Cappellazzo, Ewa Lajer-Burcharth, Rosa Martinez, Nancy Spector and Marina Warner, Janine Antoni, Küsnacht, 2000, pp. 125-127, illustrated in color

PROPERTY FROM A EUROPEAN COLLECTION

Sandra Gering Gallery, New York
Acquired by the present owner in 2000

Janine Antoni, who was raised in the Bahamas, her father being a plastic surgeon, holds a fascination for parody and transformation, creating and proceation. In her hands, everything from chocolate, lard or leather, to her own body or the image of her parents, is a raw material ready to go through alchemist process, alteration and renovation.

In her photograph triptych, Mom and Dad, Antoni maliciously described her medium as being her "father, mother" and some "make-up." In this surprising masquerade, Mom and Dad have been made-up to look exactly like the author and to render a subtle metaphor or gender and sexual distinctiveness.

If Janine Antoni's approach may seem peculiar, it is still infinitely intimate as she moves back to childhood when she perceived her parents as exchangeable characters.