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Why Is Martha Rosler Not Considered Apart of Any Art Movement

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American artist

Martha Rosler
Born 1943

Brooklyn, New York Metropolis
Nationality American
Education Brooklyn College, Academy of California, San Diego
Known for Photography and photo text, Video art, Installation fine art, Performance art, conceptual art, writing

Notable work

 Semiotics of the Kitchen (1975); House Cute: Bringing the War Habitation (c. 1967-72; 2004-2008); The Bowery in two inadequate descriptive systems (1974/1975): If You Lived Hither... (1989)
Website www.martharosler.net

Martha Rosler (born 1943)[1] is an American artist. She is a conceptual artist who works in photography and photo text, video, installation, sculpture, and performance, besides every bit writing most art and culture.[2] [3] Rosler'south piece of work is centered on everyday life and the public sphere, frequently with an middle to women's feel.[4] Recurrent concerns are the media and war, as well as architecture and the built environs, from housing and homelessness to places of passage and systems of transport.

Early life and education [edit]

Built-in in Brooklyn, New York,[5] in 1943,[1] Rosler spent determinative years in California, from 1968 to 1980, first in due north San Diego county and then in San Francisco. She has too lived and taught in Canada.[vi] She graduated from Erasmus Hall High School in Brooklyn, too every bit Brooklyn College (1965) and the University of California, San Diego (1974).[7] She has lived in New York Metropolis since 1981.

Career [edit]

Rosler's work and writing have been widely influential. Her media of choice have included photomontage and photo-text, as well as video, sculpture, and installation. Rosler has lectured extensively, nationally and internationally. She taught photography and media, also as photograph and video history and critical studies, at Rutgers University, in new Brunswick, New Jersey, where she was a professor for thirty years, attaining the rank of Professor Ii. She also taught at the Städelschule in Frankfurt, Germany, besides every bit serving as visiting professor at the University of California's San Diego and Irvine campuses, and elsewhere.[eight]

Solo exhibitions of Rosler's work have been organized by the Whitney Museum of American Fine art in New York (1977), Institute of Contemporary Art in Boston (1987), Museum of Modernistic Art in Oxford (1990), The New Museum in collaboration with the International Eye of Photography in New York, (1998–2000), Sprengel Hannover Museum (2005), Institute of Contemporary Arts in London (2006), University of Rennes (2006), and Portikus in Frankfurt (2008). Her work has also been included in major group exhibitions such every bit Whitney Biennial (1979, 1983, 1987, and 1990), Documenta 7 and 12 (1982 and 2007), Havana Biennale (1986), Venice Biennale (2003), Liverpool Biennial (2004), Taipei Biennial (2004) and Skulptur Projekte (2007).[9]

Rosler serves in an advisory capacity to the departments of education at the Whitney Museum of American Art and the Museum of Modern Art, and at the Center for Urban Education (all New York City). She is a Lath Fellow member of the Vera Listing Center for Fine art and Politics at the New School, New York and an Advisory Lath board member of the Centre for Urban Pedagogy. She has also served on the lath of directors of the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University, New York, and she is a former member of the boards of directors of the Association for Independent Video and Moving picture and the Media Brotherhood, and a former trustee of the Van Alen Center, all in New York City. Since the early on 1980s she has been a regular lecturer at the Whitney Independent Report Program in New York, where she was formerly a faculty member.

Rosler is known for her writing also as her fine art work in various media. She has published over 16 books of her artwork and her critical essays on art, photography, and cultural matters, some of which have appeared likewise in translation. Her essays have been widely published, anthologized, and translated. She was interviewed for the film !Women Fine art Revolution.[ten]

Work [edit]

Semiotics of the Kitchen [edit]

Semiotics of the Kitchen (1974/75) is a pioneering work of feminist video art in which, parodying early television cooking shows, Rosler demonstrates some hand tools of the kitchen in alphabetical order. As her gestures begin to veer into an unexpected and possibly alarming direction, the character eventually dispenses with the tools and uses her trunk as a kind of semaphore arrangement. Rosler has suggested that this darkly humorous work is meant to claiming social expectations of women in regard to nutrient product and, more broadly, the role of language in determining these expectations. The issue the work calls up is whether the woman can be said to "speak herself."[xi]

"Even though information technology was obscure looking (on purpose) and inelegant (on purpose) and unedited (on purpose), it began to look like a naïf moment of production that was the best that could be washed at the fourth dimension. In other words, it was seen as a pioneering piece of work because of its low quality of production". [12]

Other video piece of work [edit]

Farther video works include Vital Statistics of a Denizen, Only Obtained (1977), Losing: A Chat with the Parents (1977), and Martha Rosler Reads Vogue (1982), with Newspaper Tiger Tv set; Domination and the Everyday (1980) and Born to Be Sold: Martha Rosler Reads the Strange Case of Baby $/K (1988), also with Paper Tiger Television. Many of her video works address geopolitics and power, including Secrets From the Street: No Disclosure (1980); A Simple Instance for Torture, or How to Sleep at Night (1983); If It'southward Too Bad to exist True, It Could Be DISINFORMATION (1985); the 3-aqueduct installation Global Sense of taste: A Repast in 3 Courses (1985); and Because This Is Britain (2014), and many others.[13]

Rosler employs operation-based narratives and symbolic images of mass media to disrupt viewers' expectations. Rosler says, "Video itself 'isn't innocent:' Yet video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial Idiot box."[14]

These concepts are emphasized in such works as Semiotics of the Kitchen, in which a static camera is focused on a woman in a kitchen who interacts with kitchen utensils, naming and demonstrating their uses in odd gestures, speaking to the expectations of women in certain domestic spaces.

Photography and photomontage [edit]

Rosler's photo/text work The Bowery in 2 inadequate descriptive systems (1974/75) is considered a seminal piece of work in conceptual and postmodern photographic practice. The serial of 45 black and white prints pair photos of storefronts on the Bowery, at the time of the piece of work's making a famous "skid row" of New York City, with photographs of generally metaphoric groups of texts referring to drunks and drunken beliefs. The photos are displayed in a grid to accentuate the anti-expressionist nature of the work and the inherent limitation of both visual and linguistic systems to describe homo experiences and social problems.[fifteen] [16]

Some of Rosler'south best-known works are collected under the championship House Beautiful: Bringing the War Dwelling house (c. 1967–72). This is a series of photomontages that juxtapose aspirational scenes of middle-course homes, generally interiors, with documentary photos from the Vietnam State of war. These images were primarily distributed equally photocopied fliers in and effectually antiwar marches and occasionally in "secret" newspapers. They continue the tradition of political photomontage in the manner of John Heartfield and Hannah Höch besides as popular art such as Richard Hamilton's Just what is information technology that makes today's homes so different, and so appealing?. Both the state of war images and the domestic interiors were collected from bug of Life Mag and similar mass-market magazines, just these works sought to reunite the two apparently separate worlds to imply connections between the industries of state of war and the industries of the home and their mutual understandings .[17]

Rosler revisited this serial in 2004 and 2008 past producing new images based on the war in Republic of iraq and Afghanistan, under the title House Beautiful: Bringing the War Home, New Series. Sensing that her original series had become accustomed and aestheticized, her new serial was designed to address continuities that paralleled the Vietnam State of war and unsettle complacent viewers. Rosler described the "rah rah" mental attitude of American media and politics that reminded her of the political manipulations of the past.[xviii]

Also widely noted are her series of photomontages entitled Trunk Beautiful, or Beauty Knows No Hurting (c. 1965–72), addressing the photographic representation of women and domesticity. These works slightly preceded the antiwar montages and spurred their making.[xix]

Many of these works are concerned with the geopolitics of entitlements and dispossession. Her writing and photographic series on roads, the organisation of air ship, and urban undergrounds (subways or metros) bring together her other works addressing urban planning and architecture, from housing to homelessness and the built surroundings, and places of passage and transportation.

Much of her work besides focus antiwar and feminist ideologies in the 1960s and 2000s. Rosler's art inserts domestic and private themes into the public sphere in order to make political, social, and instructional critiques.[20]

Exhibitions [edit]

Rosler has had numerous solo exhibitions. A retrospective of her work, "Positions in the Life World" (1998–2000) was shown in five European cities (Birmingham, England; Vienna; Lyon/Villeurbanne; Barcelona; and Rotterdam) and, meantime, at the International Centre of Photography and the New Museum of Gimmicky Fine art (both in New York).[21] She has recently been the bailiwick of an extensive retrospective exhibition at the Galleria Civica d'Arte Moderna e Contemporanea (GAM), in Turin. In 2006 her work was the field of study of solo exhibitions at the University of Rennes and in 2007 at the Worcester Museum of Art. Her piece of work has been seen in the Venice Biennale of 2003; the Liverpool Biennial, the Taipei Biennial (both 2004), and the Singapore Biennale (2011), and the Thessaloniki Biènnale (2017); likewise every bit many major international survey shows, including the "Documenta" exhibitions in Kassel, Frg, of 1982 and 2007, Skulptur Projekte Münster in 2007, and several Whitney Biennials.

In 1989, in lieu of a solo exhibition at the Dia Art Foundation in New York Metropolis, Rosler organized the project "If You Lived Here...", in which over 50 artists, motion picture- and video producers, photographers, architects, planners, homeless people, squatters, activist groups, and schoolchildren addressed contested living situations, architecture, planning, and utopian visions, in 3 dissever exhibitions, four public forums, and associated events. In 2009, an archive exhibition based on this project, "If You Lived Here Still," opened at e-flux'due south gallery in New York and then traveled (2010) to Casco Part for Art Design and Theory, in Utrecht, Netherlands, and to La Virreina Centre de la Imatge in Barcelona. Following the problematic addressed by these exhibitions, Rosler together with the urbanist Miguel Robles-Durán worked on an urban installation project in Hamburg, Frg, called Nosotros Hope![22](2015), which confronts the conflicting promises of urban regeneration projects in Europe via a set of public posters on the street and in public transport. Versions of the 1989 testify accept been mounted in many locations on several continents.

a group of students in an art gallery

Students visiting the "If you can beget to live here, mo-o-ove!!" exhibition

In 2016, a projected year-long projection at the New Foundation Seattle and in the Seattle, under the rubric "Housing Is a Human being Right," was to reprise all three exhibitions of the Dia exhibition of 1989, "If Y'all Lived Hither..."—but focusing especially on contemporary Seattle. All the same, the New Foundation, which had too made her the first recipient of its award to a distinguished female artist working in the field of social justice, abruptly ceased public operations subsequently the completion of the offset two shows. Subsequently, too in 2016, Rosler organized an exhibition in New York that included much of the Dia and Seattle material but focused on New York Metropolis. Working with her Seattle curator Yoko Ott, and Miguel Robles-Durán, and with the assistance of Dan Wiley, who had worked with her on organizing primal components of the 1989 show, every bit well every bit many others, Rosler put on the exhibition If you can't afford to alive here, mo-o-ove! at Mitchell-Innes and Nash, renamed as a public infinite, the Temporary Office of Urban Disturbances.[23] 4 public forums on the problems of fine art and gentrification and the privatization of housing were as well held.

At the Utopia Station exhibition at the Venice Biennale of 2003, Rosler worked with most xxx of her students from Stockholm and Copenhagen, besides as a small, far-flung net group of sometime workshop participants, 'the Fleas', and her graduate students from her video seminar at Yale, to produce a mini-pavilion, newly designed and built but purposely left unfinished, every bit well equally large banners, and a collective newspaper, as well equally many projects, both private and collective, exploring utopian schemes and communities and their political and social ramifications.[24] Rosler has also produced two tours of historical sites, one in Hamburg (1993) and one in Liverpool (2004), in conjunction with curated art projects. At the Frieze Fine art Fair (London) of 2005, she conducted a tour of this temporary site from its siting and structure to all aspects of its labor, including customer service, nutrient service, toilets, VIP lounges, publicity, maintenance, and security.

Her solo show Meta-Monumental Garage Sale was held at the Museum of Mod Art (MoMA) in New York in Nov 2012, revisiting a series of exhibitions she had held in 1973 in San Diego and 1977 in San Francisco that centered on the American garage sale. The auction, held in MoMA'south atrium was inspired by Rosler's interest in garage sales, a social form of small-scale, local—small town and suburban—commerce largely organized and frequented by women, which she first experienced when she moved from New York, where such phenomena were and then completely unknown, to Southern California. At the asking of museum curators, she restaged such sales in several European fine art locales and in New York City starting in 1999, culminating in the Fair Trade Garage Sale at the Museum of Cultural History in Basel, in conjunction with the 2010 Basel Art Fair, then at MoMA in 2012. The 2012 "Meta-Monumental Garage Sale" at MoMA offered over 14,000 items, including Rosler'south accumulated holdings—many of which were rolled over from previous iterations of this work—and items solicited from museum employees and the public.[25] In that location were likewise two bug of a newspaper and two public discussions, i of which included a psychic, assessing questions of value and meaning. The work, since its inception in 1973, was intended to invoke questions of art and value, as the events were always held in museums and noncommercial galleries, or in spaces associated with them, equally well equally to telephone call attention to the liminal domestic spaces that women regularly negotiate economically.

Starting in November 2005, e-flux sponsored the "Martha Rosler Library," a reading room in which over vii,500 volumes from her private collection were made available every bit a public resources[26] in venues in and effectually art institutions, schools, and libraries.[27] The collection started at e-flux's New York gallery so traveled to the Frankfurter Kunstverein in Germany; to Antwerp's NICC, an artist-run infinite, in conjunction with the MuHKA (Museum of Contemporary Art); to United nations Plaza School in Berlin; to the Institut National de L'Histoire de Fifty'Fine art in Paris; to Stills in Edinburgh; to John Moore's Art School in Liverpool; and to the Gallery at the University of Massachusetts, Amherst, before being retired. At the "Martha Rosler Library," visitors could sit and read or make free photocopies. Other projects, such as reading groups and public readings, were organized locally in conjunction with the project.

In 2018, the Jewish Museum in New York City presented Martha Rosler: Irrespective, a survey exhibition showcasing the artist's five decades-long practice, featuring installations, photographic series, sculpture, and video from the 1960s to the present.[28] [2]

Activist vs. political art [edit]

While Rosler'southward chief impetus for her solo exhibition at the Dia Center for the Arts was to expose the invisibility of homelessness and urban policies that conspire to muffle the socially underprivileged, one of the few critiques of the show was that it did little to really lessen the homelessness problem in America.[29] When asked the difference between making activist work as an artist, and being an activist Rosler said, "To be an activist you probably have to be working intensively with a specific community and a specific issue or fix of issues, specific outcomes...I am an artist. I make art. And I was besides a full-fourth dimension professor. Activism is an on-going process, and it'southward truthful that I worked with activists on that projection, just one thing is certain: activists don't expect intractable problems to be solved by an exhibition or a political campaign and certainly not in half-dozen months."[xxx] Rosler is known to brand piece of work around a plethora of social and political thought, from civil rights, to anti-state of war efforts, to women's rights. Given this information and her definition of an "activist," it is safe to assume Rosler is an artist making activist work, or political piece of work. Rosler is a professor and frequently collaborates with her students, bringing frontward a new generation of political fine art, with different backgrounds on the subject.

Personal life [edit]

Rosler's son is the graphic novelist Josh Neufeld;[31] they take collaborated on a number of projects.

Published works [edit]

Martha Rosler's essays have been published widely in catalogues, magazines, such as Artforum, Afterimage, Quaderns, and Grey Room, and edited collections, including Women Artists at the Millennium (October Books/MIT, 2006) among many others. She has produced numerous other "discussion works" and photograph/text publications; now exploring cookery in a mock dialogue between Julia Kid and Craig Claiborne, now analyzing imagery of women in Russian federation or exploring responses to repression, crisis, and war. Her 1981 essay, "In, Effectually, and Afterthoughts (on documentary photography)," has been widely cited, republished, and translated and is credited with a peachy part in dismantling the myths of photographic disinterestedness and in generating a discussion about the importance of institutional and discursive framing in determining photographic pregnant.

Rosler has published sixteen books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004), the photograph books Passionate Signals (Cantz, 2005), In the Identify of the Public: Observations of a Frequent Flyer (Cantz, 1997), and Rights of Passage (NYFA, 1995). If Y'all Lived Here (Costless Printing, 1991) discusses and supplements her Dia project on housing, homelessness, and urban life. Several books, in English and other languages, were published in 2006, including a 25-twelvemonth edition of three Works (Press of the Nova Scotia Higher of Art and Design) with a new foreword past Rosler. The collection Imágenes Públicas, Spanish translations of some essays and video scripts, was published in 2007. Her book Civilization Class, on gentrification, artists, art institutions, and the Culture Course theory, was published by e-flux and Sternberg Press in 2013.[32]

Videography [edit]

  • A Budding Gourmet 1974, 17:45 min, b&w, sound
  • Semiotics of the Kitchen 1975, 6:09 min, b&due west, sound
  • Losing: A Conversation with the Parents 1977, 18:39 min, color, audio
  • The East Is Red, The West Is Bending 1977, 19:57 min, color, sound
  • From the PTA, the High School and the City of Del Mar 1977, 6:58 minutes
  • Vital Statistics of a Citizen, Simply Obtained 1977, 39:20 min, color, sound
  • Travelling Garage Sale 1977, xxx min, b&west
  • Domination and the Everyday 1978, 32:07 min, color, sound
  • Secrets From the Street: No Disclosure 1980, 12:xx min, color, audio
  • Optimism/Cynicism: Constructing a Life 1981, 44 minutes
  • Watchwords of the Eighties 1981-82, 62 minutes
  • Martha Rosler Reads Vogue 1982, 25:45 min, colour, sound
  • A Elementary Instance for Torture, or How to Sleep at Night 1983, 62 minutes
  • Fascination with the (Game of the) Exploding (Historical) Hollow Leg 1983, 58:16 min, color, sound
  • If it's too bad to exist true, it could exist Disinformation 1985, sixteen:26 min, color, audio
  • Global Gustation: A Meal in Three Courses 1985, thirty minutes, 3-channel installation
  • Born to be Sold: Martha Rosler Reads the Foreign Case of Baby $/Thou (with Paper Tiger Television) 1988, 35 min, color, sound
  • In the Identify of the Public: Airport Series 1990, four hrs, color, sound
  • Greenpoint: The Garden Spot of the World 1993, 19:24 minutes
  • How Do We Know What Home Looks Similar? 1993, 31 min, color, sound
  • Seattle: Hidden Histories 1991-95, 13 min, color, sound
  • Chile on the Road to NAFTA 1997, 10 min, colour, sound
  • Prototype (God Anoint America) 2006, 1 minute
  • Semiotics of the Kitchen: An Audition 2011, 10:26 min, color, sound
  • Because This Is Britain, 2014, 3 minutes
  • Museums Volition Eat Your Lunch, 2014, 3 minutes
  • Pencicle of Praise, 2018, 12 minutes

Awards [edit]

  • 2005 Spectrum International Prize in Photography[33] — accompanied by a retrospective, "If Not Now, When?" largely of photo and video works merely too a garage sale, at the Sprengel Museum in Hanover and, on slightly smaller calibration, at the Neue Gesellschaft der Bildende Kunst, or NGBK in Berlin. The volume Passionate Signals accompanied this exhibition.
  • 2006 Oskar Kokoschka Prize — Republic of austria'southward highest fine arts award
  • 2007 Bearding Was A Adult female Award
  • 2009 USA Artists Nimoy Young man for photography
  • 2009 Civitella Ranieri Residency
  • 2010 Lifetime Achievement Award (Guggenheim Museum)
  • 2011 Deutsche Akademische Austausch Diennst (DAAD) Berlin fellowship
  • 2012 Doctorate in Fine Arts Honoris Causa (Nova Scotia College of Art and Pattern)
  • 2012 Distinguished Feminist Accolade (College Art Association)
  • 2014 Doctorate in Fine Arts Honoris Causa (Courtauld Institute of Art)
  • 2016 Honorary Doctor of Fine Arts (Rhode Isle Schoolhouse of Blueprint)
  • 2016 New Foundation Seattle Countdown accolade — for a woman artist working toward social justice
  • 2016 Distinguished Artist Honour (Women's Caucus for Art)
  • 2017 Lichtwark Prize (City of Hamburg, Germany) — awarded every five years

Bibliography (selected) [edit]

  • "Service: A Trilogy on Colonization" (New York: Printed Matter), 1978. Republished 2008. Translated into Italian, 2013.
  • "Martha Rosler: iii Works" (Press of the Nova Scotia higher of Art and Design), iii Works (1981; republished Press of the Nova Scotia College of Art and Pattern, 2006) ISBN 0-919616-46-1, including the following essay:
  • "In, around, and afterthoughts (on documentary photography)" (1981)
  • If You Lived Here: The City in Art, Theory, and Social Activism (Costless Printing, 1991)
  • Rights of Passage (NYFA, 1995)
  • In the Place of the Public: Observations of a Frequent Flyer (Cantz, 1997)
  • Martha Rosler: Positions in the Life Earth (MIT Press, 1999)
  • Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press; an October Book, 2004)
  • Passionate Signals (Cantz, 2005)
  • Imágenes Públicas (Editorial Gustavo Gili, 2007)
  • Civilisation Class (e-flux and Sternberg Press, 2013)
  • Clase Cultural (Caja Negra, 2017)
  • Martha Rosler: Irrespective (Yale University Press and the Jewish Museum, 2018)
  • Ober, Cara. "Martha Rosler: Art as Activism, Democratic Socialism, and the Changing Role of Women Artists every bit They Historic period." BmoreArt Baltimore Gimmicky Art, 4 July 2019

See too [edit]

  • Feminist art movement in the United States

Notes [edit]

  1. ^ a b "The Guggenheim Museums and Foundation". The Guggenheim Museums and Foundation . Retrieved 2020-12-17 .
  2. ^ a b Haigney, Sophie (2018-11-06). "Martha Rosler Isn't Done Making Protest Art". The New York Times. ISSN 0362-4331. Retrieved 2019-02-05 .
  3. ^ Wark, Jayne (2001). "Conceptual Fine art and Feminism: Martha Rosler, Adrian Piper, Eleanor Antin, and Martha Wilson". Woman'south Art Journal. 22 (1): 44–50. doi:10.2307/1358731. ISSN 0270-7993.
  4. ^ Canning, Susan (2001). "Tell it Similar it is: Martha Rosler and Barbara Kruger". Art Papers Magazine.
  5. ^ Rosler bio, Mitchell-Innes & Nash website. Accessed Sept. 18, 2017.
  6. ^ "Announcements: Martha Rosler," East-flux (February 2, 2014).
  7. ^ "The Guggenheim Museums and Foundation". The Guggenheim Museums and Foundation . Retrieved 2020-12-17 .
  8. ^ "Martha Rosler Biography – Martha Rosler on artnet". world wide web.artnet.com . Retrieved 2020-12-17 .
  9. ^ "The Guggenheim Museums and Foundation". The Guggenheim Museums and Foundation . Retrieved 2020-12-17 .
  10. ^ Anon 2018
  11. ^ "Martha Rosler. Semiotics of the Kitchen. 1975 | MoMA". The Museum of Modern Art . Retrieved 2020-12-17 .
  12. ^ Conversation/podcast with Martha Rosler, 2018
  13. ^ "videos". martha rosler . Retrieved 2020-12-17 .
  14. ^ Zippay, Lori (1991). Artists' Videos An International Guide. New York: Electronic Art Intermix. p. 167.
  15. ^ "Whitney Museum of American Fine art". Retrieved 17 March 2017.
  16. ^ Blazwick, Iwona (2008). "Taking Responsibility". Fine art Monthly: 1–7.
  17. ^ "Business firm Beautiful: Bringing the War Home (carousel)". martha rosler . Retrieved 2020-12-17 .
  18. ^ Greg Cook (2007). "Of War and Remembrance". Boston.com. Retrieved 17 March 2017.
  19. ^ "photographs and photomontages". martha rosler . Retrieved 2020-12-17 .
  20. ^ Moss, Karen (2013). "Martha Rosler'due south Photomontage and Garage Sales: Private and Public, Discursive and Dialogical". Feminist Studies. 39:3: 686–721.
  21. ^ "Exhibitions". New Museum Digital Archive . Retrieved 2020-12-17 .
  22. ^ "Nosotros Promise!". Archived from the original on 2015-06-17. Retrieved 2015-06-17 .
  23. ^ "How Tin can Y'all Live in the City? Martha Rosler'due south "If Yous Can't Afford to Alive Hither Mo-o-ove!"". The Gotham Center for New York Urban center History . Retrieved 2020-12-17 .
  24. ^ Nochlin, Linda. "Less Than More," Artforum, Vol. 62, No.ane (September 2003), p. 178 ff.
  25. ^ Kennedy, Randy. "No Picassos, merely Plenty of Off-the-Wall Bargains". New York Times . Retrieved 18 Feb 2015.
  26. ^ Filipovic, Elena. "If You Read Here... Martha Rosler'due south Library," Afterall no. fifteen (Summer 2007).
  27. ^ Farzin, Media (Sep nine, 2009). "However Here: An Interview With Martha Rosler and Anton Vidokle". Art in America . Retrieved 3 October 2011.
  28. ^ "Martha Rosler: Irrespective". The Jewish Museum . Retrieved 2018-10-thirty .
  29. ^ Grabner, Michelle (2010). "Martha Rosler: If You Lived Here Still...". E-flux, New York. 12:3: 49–53.
  30. ^ "Martha Rosler: Art as Activism, Democratic Socialism, and the Changing Part of Women Artists as They Age". BmoreArt. 2019-07-04. Retrieved 2020-12-17 .
  31. ^ Cheng, Scarlet (February 20, 2010). "Fine art is the bulletin on these billboards". Los Angeles Times . Retrieved three Oct 2011.
  32. ^ "writings". martha rosler . Retrieved 2020-12-17 .
  33. ^ "Gund Gallery | Kenyon Higher". www.thegundgallery.org . Retrieved 2020-12-17 .

References [edit]

  • Anon (2018). "Artist, Curator & Critic Interviews". !Women Art Revolution - Spotlight at Stanford. Archived from the original on Baronial 23, 2018. Retrieved Baronial 23, 2018.
  • Cotter, Holland. "If It'due south Too Bad to Be Truthful, Information technology Could Be Disinformation," New York Times, Art in Review department, Nov. 11 2005
  • Diack, Heather. "Too Close to Home: Rethinking Representation in Martha Rosler'south Photomontages of War," Prefix Photograph (Toronto), Vol. seven, no. two (Nov. 2006). pp. 56–69.
  • Hoffmann, Jens. "The Familiar Is Not Necessarily the Known," NU: The Nordic Art Review (Stockholm), Vol. 3, No. ii, 2001, pp. 58–63
  • Huitorel, Jean-Marc. "Martha Rosler, Sur/Sous le Pavé." ArtPress, July/Baronial 2006.
  • Meyer, Richard. "Feminism Uncovered: On the Wack! Catalogue," Artforum, Summer 2007. pp. 211–212, 548.
  • Moffet, Charles. "Martha Rosler - Feminist Art." The Art History Archive. N.p., n.d. Web. 24 Mar. 2017.
  • Pachmanová, Martina. "Umeni bourat myty ve svete kolem nás i v nás." Aspekt (Bratislava), 12/2000-ane/2001, pp. 130–136
  • Pachmanova, Martina. "Interview with Martha Rosler: Subverting the Myths of Everyday Life," northward.paradoxa: international feminist art periodical (London), issue 19 online, May 2006 pp. 98–109
  • Paterson, Mary. "Martha Rosler: art activist: Mary Paterson interviews Martha Rosler," n.paradoxa: international feminist art journal (London), vol. 23 print, pp. 87–91
  • Richard, Frances. "Martha Rosler," Artforum, Feb 2005, p. 173
  • Stange, Raimar. "Martha Rosler: Von der notwendigke it (zitierne) der Kunst/ The Demand and Necessity for Quotes and Quoting in Art," Spike, Winter 2005
  • von Bismarck, Beatrice. "Freedom I Have None: Martha Rosler in der Galerie Christian Nagel, Berlin." Texte zur Kunst, #62, June 2006.

External links [edit]

  • Official website
  • New Museum archive
  • Buell Center for the Report of American Architecture
  • Martha Rosler in the Video Data Depository financial institution
  • Martha Rosler, Mediateca Media Art infinite
  • Martha Rosler in Electronic Arts Intermix [one]
  • Martha Rosler: Irrespective at the Jewish Museum
  • Conversation/podcast with Martha Rosler about her work, her relationship with photography, the artistic circles in the seventies and the seminal video art scene, 2018

colemanduerse1972.blogspot.com

Source: https://en.wikipedia.org/wiki/Martha_Rosler

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