My Life as a Man
Carmen Winant
2015
My Life as a Man
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Blurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s ...
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My Life as a Man
Carmen Winant
2015
New York: Horses Think Press
Unpaginated [68 pages]
25 × 17.8 cm
Edition of 225

Blurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.


 


This patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.


 


Winant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. Mothers, models, actresses, and anonymous figures emerge as protagonists in a visual mythology that is never fixed, but continually rewritten.

New York: Horses Think Press
Unpaginated [68 pages]
25 × 17.8 cm
Edition of 225

Blurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.

 

This patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.

 

Winant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. Mothers, models, actresses, and anonymous figures emerge as protagonists in a visual mythology that is never fixed, but continually rewritten.

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Blurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.

 

This patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.

 

Winant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. Mothers, models, actresses, and anonymous figures emerge as protagonists in a visual mythology that is never fixed, but continually rewritten.

New York: Horses Think Press
Unpaginated [68 pages]
25 × 17.8 cm
Edition of 225

Blurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.

 

This patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.

 

Winant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. Mothers, models, actresses, and anonymous figures emerge as protagonists in a visual mythology that is never fixed, but continually rewritten.

MORE BOOKS

Blurring the boundaries between collage, montage, and archival practice, “My Life as a Man” reflects Carmen Winant's ongoing feminist investigation into the construction of identity through image and text. Borrowing its title from Philip Roth’s seminal novel “My Life as a Man” (1974), the artist's book appears, at first, to bear little relation to its literary source. Yet, on closer inspection, the cover of Roth’s first edition surfaces multiple times throughout the publication, within dense fields of stereotypical representations of femininity: hands, pin-ups, cosmetics, bikinis, body fragments, women posing for the camera, ponytails, and other familiar tropes of popular culture.

 

This patriarchal visual vocabulary is continuously reconfigured and interwoven with excerpts from texts by thirteen contemporary artists and writers: Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini, and John Yau. Each copy features a unique collaged cover and includes a folded poster reproducing nearly completed New York Times crossword puzzles assembled by Winant's mother.

 

Winant’s feminism operates subtly. Fragmenting and recomposing familiar images of women, she reveals the structures that have shaped their representation while imagining new ways of seeing. Mothers, models, actresses, and anonymous figures emerge as protagonists in a visual mythology that is never fixed, but continually rewritten.

MORE BOOKS