{"id":7091,"title":"David Antin","kind":"bio","url":"https://www.videohistoryproject.org/david-antin","version":"9ef35ecf0531714a88e292eeabc348fd9b8f54faee0d300450c52f5b2171e4db","modified":"2011-06-17T23:59:10+00:00","credits":[],"authorKeys":[],"subjects":["bio"],"metadata":[{"label":"First name","value":"David","url":null},{"label":"Last name","value":"Antin","url":null}],"citations":{"page":"\u0022David Antin.\u0022 Video History Project, Experimental Television Center, 2011. https://www.videohistoryproject.org/david-antin.","publication":null,"risUrl":"https://www.videohistoryproject.org/citation/7091.ris"},"links":[{"label":"http://visarts.ucsd.edu/faculty/dantin.htm","url":"http://visarts.ucsd.edu/faculty/dantin.htm","relationship":"record body link","contentType":null}],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":6321},{"name":"summary","source":"existing VHP generated summary","generated":true,"characters":575}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"David Antin is a poet, critic and performance artist. His background includes undergraduate work in science and languages with graduate work in linguistics at New York University (special project was the language structure of Gertrude Stein). He has edited and translated several science and math books and has pursued a career as a poet since 1955 and that of an art critic since 1964. He also served as the Educational Curator for the Institute of Contemporary Art in Boston before joining the Visual Arts Department in 1968. For four years he was Director of the UCSD Mandeville Art Gallery, assembling exhibitions of post-Pop representation (Katz, Morley, Estes, Wesselman), a video piece by Keith Sonnier, an installation piece by Richard Serra, and a performance by Joan Jonas, as well as a large group show of artists from the Fluxus group. Antin began full-time teaching in 1972 and his courses cover such areas as the Structure of Art, History of Criticism, Tactics and Strategies, Theories of Modernism and Postmodernism, and Narrative Theory. His published books include Definitions (1967), Autobiography (1967), Code of Flag Behavior (1968), Meditations (1971), Talking (1972), After the War (A Long Novel with Few Words) (1973), Talking at the Boundaries (1976), Who\u0027s Listening Out There (1980), Dialogue (1980), Tuning (1984), Po\u00E8mes Parl\u00E9s (1985), Selected Poems 1963-1973 (1991) and What It Means to be Avant Garde (1993). Extensive essays on his work can be found in Boundary-2 (1975), Vort #8 (1975), The Poetics of Indeterminacy, Marjorie Perloff (1981), In Search of the Primitive, Sherman Paul (1986), Jazz Text, Charles O. Hartman (1991), Repositionings, Fred Garber (1995), Ghostlier Demarcations, Michael Davidson (1997), and there is a long interview with him in Some Other Frequency, ed. Larry McCaffery (1996). An issue of the Review of Contemporary Fiction devoted to his work was published Spring (2001) by the Dalkey Archive, which also republished his 1972 work Talking (Spring 2001). A four month email exchange with the poet Charles Bernstein called A Conversation with David Antin was published by Granary Press (Spring 2002). A new book, i never knew what time it was, is in preparation for UC Press. A selection of his writing includes \u0022Le Marchand de Sel,\u0022 Kulchur 18, Summer, 1965; \u0022Grey Paint: Robert Morris,\u0022 Art News, April, 1966; \u0022The Silver Tenement: Andy Warhol,\u0022 Art News, Summer, 1966; \u0022Lead Kindly Blight,\u0022 Art News, November, 1970; \u0022Art and the Corporations,\u0022 Art News, September, 1970; \u0022It is Approaching a Desert in Which Nothing Can Be Perceived But Feeling,\u0022 Art News, March, 1971; \u0022Duchamp, the Meal and the Remainder,\u0022 Art News, October, 1972; \u0022Modernism and Postmodernism,\u0022 Boundary-2, Vol 1, No. 1, September, 1972; \u0022Talking at Pomona,\u0022 Artforum, September, 1972; \u0022Duchamp and Language,\u0022 Museum of Modern Art catalog, New York Graphic Society, November, 1973; \u0022Television: Video\u0027s Frightful Parent,\u0022 Artforum, 1974-5; \u0022Some Questions About Modernism,\u0022 Occident, Vol. VIII, Spring, 1974; \u0022The Death of the Hired Man,\u0022 catalog essay for Siah Armajani, Baxter Art Gallery, Cal Tech, Pasadena, Summer 1982; \u0022Duration,\u0022 Formations, U. of Wisconsin, Madison, Fall 1984; \u0022What it means to be avant garde,\u0022 Formations, U. of Wisconsin, Fall, 1985; \u0022from the structuralist,\u0022 New Directions Annual, 50, 1986; \u0022Biography,\u0022 Representations, No.16, Fall 1986; \u0022The Stranger at the Door,\u0022 Genre, 1988; \u0022Spring, Noise, Love and All,\u0022 New Directions, Annual 1988; \u0022The Messenger,\u0022 Journal, Los Angeles Institute of Contemporary Art, 1986; \u0022endangered nouns,\u0022 Remembrances of Things Past, catalog, Long Beach Museum of Art, 1986; \u0022writing and exile,\u0022 Tikkun, September, 1990; \u0022Thinking About Novels,\u0022 Review of Contemporary Fiction, Summer 1991; \u0022FINE FURS,\u0022 Critical Inquiry, Fall 1992; \u0022Interview with Hazel Smith and Roger Dean,\u0022 Postmodern Culture, Spring, 1993; \u0022Have Mind Will Travel,\u0022 in Robert Morris catalog, Guggenheim Museum, 1994; \u0022The Beggar and the King,\u0022 Pacific Coast Philology, Vol. 30, No. 2, 1995; \u0022Eight Stories for John Baldessari,\u0022 in John Baldessari, National City, La Jolla Museum, 1996; \u0022Wittgenstein Among the Poets,\u0022 Modernist and Modernity, January, 1998; \u0022I never knew what time it was,\u0022 108/107, Atlanta, 1999; \u0022the flying fish,\u0022 108/106, Atlanta, 1999; \u0022the nervous camel,\u0022 Review of Contemporary Fiction (Spring 2002). \u0022the noise of time\u0022 was published in the Boston Review (Spring 2001). A selection of his earlier poems has been translated into Slovak by Drewo a srd in Bratislava. Antin\u0027s seminal essay on the avant-garde use of genre has recently been published in Hungarian translation. He has had recent performances in Bratislava, Budapest and Bucharest (Fall 2000). In January 2001, he did three performances in Paris and one in Marseilles. He gave a talk on Mark Rothko in May at the Rothko Symposium at the San Francisco Museum of Modern Art, and performed a talk piece at the Ezra Pound conference at the Sorbonne in July. In November he gave a talk engaging with Kierkegaard\u0027s, Nietzsche\u0027s and Heidegger\u0027s notions of repetition and recurrence at Notre Dame and gave a seminar on his work. He spoke on the \u0022Dream of Technology\u0022 at the School of the Art Institute of Chicago. From January to April 2001, he was a Research Fellow at the Getty Research Institute in Los Angeles where he was a participant in a symposium on the \u0022Relations between Art History and Art Criticism\u0022 in a Rothko Symposium; and in a Symposium on \u0022The Brain, Art and Cognition\u0022 at the Getty with scholars from the Stanford Research Center. With Jerome Rothenberg he gave a seminar on \u0022The Art in Poetry and the Poetry in Art\u0022 and a poetry performance at the Getty. Antin\u0027s present work continues to explore narrative in both verbal and visual works. This has taken him into public art and film; most recently a series of \u0022Micro-Films,\u0022 slide sequences employing words and images that act as very short films. Two of these were projected as intermission images in the Laemmle Figueroa in downtown Los Angeles in 1999. So far he has completed a film noir, a sci-fi film and a road movie, none longer than 90 seconds. He is planning to complete sixteen of these movies and have a retrospective that lasts less than 30 minutes. http://visarts.ucsd.edu/faculty/dantin.htm","offset":0,"nextOffset":null,"totalCharacters":6321,"complete":true},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}