Abstract
Abstract This essay situates two works by Eleanor Antin—the film The Man Without a World (1991), and the installation Vilna Nights (1993)—in the context of Jewish art as it was articulated in 1990s America. During this period, efforts were made by scholars, curators—and some artists—towards a new Jewish art that would be consummate with other contemporaneous identity-based practices. Although these efforts did not birth a new Jewish art, they did instigate a revived interest in the history of Eastern European Jewry. This was Antin’s subject in both The Man Without a World and Vilna Nights, but the representation of this history in both works challenged the nostalgia that it courted in other corners of 1990s Jewish art.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
