In the Place of the Public: Airport Series also comprises vinyl wall texts displayed alongside and amongst the photographs at various heights. These sentences, which Rosler has selected especially for Tate, draw attention to the ways in which airport advertising, signage and architecture in the airport promise to take the visitor elsewhere, mentally as well as physically.
Martha Rosler (New York) pioneered the use of video as a tool for social and political analysis. Her practice is built on a multiplicity of artistic languages such as photography, collage or performance, and different ways of activating the social fabric through writing or teaching. The exhibition “How Do We Get There From Here?” presents a selection of works (video, photography and publications) that allow to reflect on one of the most solid, coherent and critical tendencies of our days.
Martha Rosler is the subject of an upcoming solo exhibiton at The Neubauer Collegium for Culture and Society in Chicago, Illinois.
Martha Rosler is included in the group show traveling from the Smithsonian to the Minneapolis Institute of Art titled Artists Respond: American Art and the Vietnam War, 1965-1975.
Martha Rosler is included in the group exhibition Manifesto: Art x Agency at the Hirshhorn Museum and Sculpture Garden, Washington, D.C.
This book presents a newly collected selection of essays and performance and video scripts by artist Martha Rosler, with special emphasis on the construction of the public sphere and the myths of everyday life. The book explores topics ranging from everyday life and the mass media to national security and war and conflict, especially as they affect women. Taking as a starting point her essay Domination and the Everyday —which gives the book its title—the following pages explore the long career of an artist well known for her videos, performances, photos, and other works, as well as for being one of the most original and influential cultural and theoretical critical voices of the past forty years. This book shows Rosler’s ability to create an artwork and generate a discourse to contextualize it. In texts from 1975 to 2016, Rosler reflects on feminist art, the idea of the artist-mother, and gentrification in relation to culture, among many other subjects.
Martha Rosler is included in the group show Artists Respond: American Art and the Vietnam War, 1965-1975 at the Smithsoniam American Art Museum in Washington D.C.
If you lived here, it takes its title from the work If you lived here in 1989, where Rosler interrogates the processes of gentrification and social impoverishment in the United States during the Ronald Reagan administration.
On the occasion of the exhibition Martha Rosler / Eric Wesley, / is honored to present an artist talk by Martha Rosler moderated by the San Francisco-based curator Tanya Zimbardo at Minnesota Street Project on Thursday, April 18, 2019 from 7 to 8:30 PM.
Join Martha Rosler at School of the Art Institute of Chicago on Tuesday, April 16th at 6:00 pm. This event is free and open to the general public.
Martha Rosler is included in the Kochi-Muziris Biennale 2018.
Susan and Elihu Rose Chief Curator Darsie Alexander speaks with artist Martha Rosler on the occasion of her survey exhibition Martha Rosler: Irrespective at the Jewish Museum.
Martha Rosler's Vital Statistics of a Citizen, Simply Obtained is included in Serralves' current collection show Zéro de Conduite.
Featuring work by thirty-six global artists, Women House challenges conventional ideas about gender and the domestic space. The exhibition is inspired by the landmark project Womanhouse, developed in 1972 by Judy Chicago and Miriam Schapiro. With works that disrupted traditional ideas about the home as a feminine realm, Womanhouse was the first female-centered art installation to appear in the Western world. In the new exhibition, Women House, women artists from the 1960s to today examine the persistence of stereotypes about the house as a feminine space.
Women House was organized by Monnaie de Paris, where it was exhibited from October 20, 2017 throuh January 28, 2018.
Organized by Gianni Jetzer, the Hirshhorn’s curator-at-large, Brand New examines the origins and rise of the key group of artists in New York City’s East Village who first used the language and objects of commerce as a radical new approach to art making.
Martha Rosler and Pope.L are included in the group exhibition Elements of vogue. A Case Study in Radical Performance at CA2M, Madrid.
Celebrating the 50th anniversary of its founding, the UC San Diego Visual Arts Department is presenting a series of retrospective exhibitions at the University Art Gallery (UAG), located in the Mandeville Complex on the UCSD campus. The goal of the two-year series is to open a dialogue on the past and possible future of the department and to reconsider its role in the community and the art world at large.
Feminism and the State: Art, Politics, and Resistance is a symposium organized by The Feminist Art Project (TFAP), Rutgers, The State University of New Jersey, and presented as a part of the 2018 College Art Association Conference. The TFAP symposium will open space for a discussion of art and art history that sheds light on historical precedents and paths for feminist resistance, with a special focus on methodologies pressing at the limits of art history. Artist Martha Rosler will deliver the keynote address.
Women House is the meeting of two notions: a gender - the female - and a space - the domestic one. Architecture and public space have been masculine while the domestic space was for a long time the prison or the shelter of women: this historical evidence is nevertheless not a fatality and the exhibition Women House shows this.
Martha Rosler is included in the Hessel Museum of Art's exhibition Picture Industry.
Borrowing its title from a work of the same name by Allen Ruppersberg—who had his first New York survey at the New Museum in 1985—the event features a selection of public conversations with artists whose exhibitions, works, and interventions have shaped and transformed the identity and history of the New Museum. Engaging in dialogue with each other, the forty artists will discuss an array of topics related to their practice, their history with the Museum, and beyond.
General Idea, Mary Kelly and Martha Rosler are included in the Whitney Museum's An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940–2017.
While her career has encompassed performance, photography, installation and essay writing, Rosler is perhaps best known for her work in video. MACBA Collection. Martha Rosler: God Bless America! focuses on Rosler’s video production through eleven works spanning the 1970s to 2006. The show centres on the key thematic lines in Rosler’s work, where politics as the ideological exercise of power, class hierarchy and economic interest is addressed, especially through the enactment of U.S. imperialism and the social control of women’s bodies.
Martha Rosler will be included in the Jewish Museum's upcoming group show, Take Me (I'm Yours). Originally conceived by curator Hans Ulrich Obrist and artist Christian Boltansky in 1995, the show encourages visitors to participate in the exhibition by touching and even taking home works of art.
For the 2016 Walter Annenberg Lecture, Rosler will speak about her multidisciplinary practice and the genealogy of conceptual and feminist art in the United States with Adam D. Weinberg, the Museum’s Alice Pratt Brown Director.
As part of the Artists on Artists Lecture Series at Dia:Chelsea, Andrea Bowers will give a talk on Martha Rolser's exhibtiion If you can't afford to live here, mo-o-ove!! on Tuesday, September 27 at 6:30 pm.
Martha Rosler will be featured in Gallery 400's upcoming exhibition, "Precarity: Contingency in Artmaking and Academia."
Martha Rosler's iconic conceptual piece The Bowery in Two Inadequate Descriptive Systems from 1974-5 is to be included in the International Center for Photography's first exhibtiion, titled "Public, Private, Secret."
Presented in conjunction with Galerie Nagel Draxler, Martha Rosler's House Beautiful: Bringing the War Home from 1967-72 will be included in the Unlimited Section at Art Basel 2016.
February 20, 2016
Iris and B. Gerald Cantor Auditorium, 3rd Floor
Join Agitprop! artists Martha Rosler, Nancy Buchanan, and Andrea Bowers in a discussion on the intersection of art and activism in their practices. The speakers represent the chain of artist-driven nominations that shape Agitprop!’s evolving installation: Rosler, invited for wave one, nominated Buchanan for wave two; Buchanan in turn invited Bowers for wave three.
Free with Museum admission.
In conjunction with the publication of American Artists against War, 1935–2010, author David McCarthy is joined by artists Joyce Kozloff and Martha Rosler for a discussion about artists’ activism and antiwar art in the age of the American Century. McCarthy provides a historical overview of the continuities and changes in antiwar art from the 1930s until today, while Kozloff and Rosler contextualize this broader history with their experiences as artists and activists since the 1960s.
Wednesday, February 10, 2016, 6 - 8 p.m. FREE
Stephen A. Schwarzman Building, Celeste Auditorium, Fifth Avenue at 42nd Street
The Seattle Art Museum is pleased to present its first solo exhibition on the work of Martha Rosler opening December 13, 2015.
At key moments in history, artists have reached beyond galleries and museums, using their work as a call to action to create political and social change. For the past hundred years, the term agitprop, a combination of agitation and propaganda, has directly reflected the intent of this work.
A History of Photography: Selections from the Museum's Collection is a series of installations that trace the course of photography from its invention to the present day, showcasing important new acquisitions and treasured masterpieces.
Every four months, a new selection of photographs, drawn from the rich collection that the Museum has built over the past half century, present the medium's history in a slightly different light. In this way, an increasingly complex picture of photographic history emerges for those who move slowly, look closely, and return for more.
A project of the Kunstraum Kreuzberg / Bethanien, curated by Boaz Levin and Marianna Liosi, sponsored by the Capital Cultural Fund.
In January 2011, social protests broke out in Tunisia which soon spread to other Arab states. In the Western media reports quickly circulated with images of protest graffiti, which were cited as coming from social networks such as Facebook and Twitter. These pictures are often regarded as evidence of the emancipatory potential of the new media.
Martha Rosler, Thomas Schestag, Ingo Springenschmid, Mladen Stilinovic, Jan Tabor
Curated by M. Christoph Aigner
The HKW project Wohnungsfrage investigates the tension-ridden relationships between architecture, housing, and social reality in an exhibition of experimental concepts for living, a publication series and an academy.
In fall 2015, MUMOK will look back at international art activities around 1990. On three levels, we are showing installations, publications, objects, projects, films, and interventions by more than 50 artists and artists’ groups. They all question traditional forms of exhibiting and address the pressing social challenges of their time.
From Latin America to Asia, and from Europe to the Middle East, this explosive exhibition connects the dots between art produced around the world during the 1960s and 1970s, showing how different cultures and countries responded to the movement.
La Casa dei Tre Oci in Venice, the historical exhibition at the Giudecca, presents the exhibition A look of woman by Francesca Alfano Miglietti (FAM): 250 works conceived and selected to orient the eye and the mind to a world that talks about diversity, responsibility, compassion and justice. An ambitious project that emphasizes how photography in recent decades has chosen to become a kind of consciousness of the world, becoming a witness also of what is often concealed.
Through the work of more than a hundred international artists, the exhibition The Great Mother analyzes the iconography of motherhood in the art and visual culture of the twentieth- and twenty-first centuries, from early avant-garde movements to the present.
Curated by David C. Terry, NYFA Director of Programs and Curator and Fellow in Sculpture ‘99
NYFA Curatorial is pleased to announce an exhibition, Triacontagon: A Celebration of 30 Years of the Artists’ Fellowship Program. Triacontagon is a traveling exhibition premiering at Westbeth Gallery featuring 41 NYFA Fellows.
Endless House considers the single-family home and archetypes of dwelling as themes for the creative endeavors of architects and artists. Through drawings, photographs, video, installations, and architectural models drawn from MoMA’s collection, the exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to expand their discipline in new ways.
Curated by Sarina Basta, this exhibition presents the work of students and graduates of the Beaux-Arts of Paris and guest artists who place pedagogy at the center of their practice, or who use representation of pedagogy as form. The exhibition includes John Baldessari, Joseph Beuys, and Martha Rosler among many others.
"Fire and forget" comes from military jargon, and is a term for weapons systems that are no longer used in direct combat with an enemy but are launched from a safe distance. The exhibition FIRE AND FORGET. ON VIOLENCE takes the military expression as the starting point for an examination of the conventional ideas about war and force. It is oriented towards the most visible agent of violence: weapons.
Gender is socially constructed sex. Gender studies examine the way history and culture determine sex. Who a man or a woman is in a given world largely depends on the one who manipulates these images. For centuries the conception of gender has remained in the hands of religions, which have imposed ʻproperʼ social roles on the representatives of different sexes. This has been going for so long that it has come to be seen by many as the law of nature.
When the Whitney Museum of American Art opens its new Renzo Piano-designed home in Manhattan’s Meatpacking District on May 1, 2015, the first exhibition on view will be an unprecedented selection of works from the Museum’s renowned permanent collection. Setting forth a distinctly new narrative, America Is Hard to See presents fresh perspectives on the Whitney’s collection and reflects upon art in the United States with over 600 works by some 400 artists, spanning the period from about 1900 to the present. The exhibition—its title is taken from a poem by Robert Frost and also used by the filmmaker Emile de Antonio for one of his political documentaries—is the most ambitious display to date of the Whitney’s collection.
Watch This! Revelations in Media Art presents pioneering and contemporary artworks that trace the evolution of a continuously emerging medium. The exhibition celebrates artists who are engaged in a creative revolution—one shaped as much by developments in science and technology as by style or medium—and explores the pervasive interdependence between technology and contemporary culture. The exhibition includes 44 objects from 1941 to 2013, which were acquired by the museum as part of its longstanding commitment to collecting and exhibiting media art.
Watch This! includes major works by artists Cory Arcangel, Hans Breder, Takeshi Murata, Bruce Nauman, Raphael Montañez Ortiz, Nam June Paik, Martha Rosler, Eve Sussman, Bill Viola and others that highlight the breadth of media art, including 16 mm films, computer-driven cinema, closed-circuit installations, digital animation, video games and more.
The American professor Andreas Huyssen noted how in recent decades there has been slippage in the West that favors look back against that put the focus on the changes that would be about to arrive. If modernity was driven by what might be termed "future present" Postmodernism would be characterized by "present pasts."
The intricate relationship between the arts and food will be retraced and analysed in the Arts & Foods pavilion, the only thematic area of Expo Milan 2015 to be held in the city. La Triennale, will host the event from 9 April to 1 November 2015.
Martha Rosler speaks at Paris Photo 2014 with writer and educator Stephanie Schwartz, discussing everything from her early work on the subject of the Bowery, the ethical responsibilities of photographers, the paucity of critics in the US, and the overall critical reception of her work.
‘Popular, witty, sexy, glamorous’ – pop art exploded onto the cultural scene in the 1960s. The pop artists rebelled against ‘high art’ to embrace the new world of advertising, television, film stars, pop music and consumerism. Pop art shocked many but inspired even more.
The American city of the 1960s and 1970s experienced seismic physical changes and social transformations, from urban decay and political protests to massive highways that threatened vibrant neighborhoods. Nowhere was this sense of crisis more evident than in the country’s three largest cities: New York, Chicago, and Los Angeles.
The exhibition is a project organized by Mart, the museum of modern and contemporary art of Trento and Rovereto, with the collaboration of experts in history and contemporary art.
Through the development of a series of complementary contributions, the exhibition draws a distance from a simple reflection about history and offers a more complex overview regarding the topicality of the conflict, which is still today at the centre of debate.
Also on show will be the entire series of House beautiful bringing the war home by Martha Rosler, one of the most noted reflections on the relationship between war and media.
A powerful moment occurs when a narrative is cracked open, when something one expects to be presented simply for what it is, or even more, for fact, is left unguarded as one possibility among many. Suddenly, experiences or information, most typically taken for granted, are made accessible to reflection, debate and perhaps even, a deeper understanding or feeling than would have been possible before.
One of the most common assumptions about the kitchen is that it is a woman’s space. With this in mind, The Main Dish looks at how modern and contemporary kitchenware reflects attributes of the model homemaker.
Celebrating the publication of Unfamiliar Streets: The Photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia author and curator Katherine Bussard joins two leading lights of contemporary art, Martha Rosler and Philip-Lorca diCorcia to discuss how cities, especially New York, have shaped their practice's engagement with street photography.
Art Turning Left is the first exhibition to examine how the production and reception of art has been influenced by left-wing values, from the French Revolution to the present day.
A Selection of the New Media Collection, Musée national d’art moderne, Centre Pompidou, Paris
As a medium, the video has been influenced by the full spectrum of aesthetic currents, and has established itself both as one of the most important contemporary means of artistic expression and as critical instrument. In collaboration with the Centre Pompidou Paris, the exhibition entitled “Vidéo Vintage 1963-1983” shows the emergence of video art from the 1960s to the early 1980s by way of a selection of the most popular works in video art. Of particular interest here is the selection of three focal points “Performance and Filmic Self-portrait”, “Television: Research, Experimentation, Criticism”, and “Attitudes, Forms, Concepts”, which show the development of the video, its artistic application as well as ‘research’ and criticism.
See renowned Farm Security Administration (FSA) photographs, taken between 1934 and 1944, juxtaposed with newly commissioned photographs of 21st-century America by 12 contemporary photographers.
For her first solo exhibition at The Museum of Modern Art, New York–based artist Martha Rosler presents her work Meta-Monumental Garage Sale, a large-scale version of the classic American garage sale, in which Museum visitors can browse and buy second-hand goods organized, displayed, and sold by the artist.
For her first solo exhibition at The Museum of Modern Art, Martha Rosler (Brooklyn, New York) will present her work Garage Sale in The Donald B. and Catherine C. Marron Atrium from November 17 to 30, 2012. Rosler held the Garage Sale’s first iteration, Monumental Garage Sale, in 1973 in the student gallery of the University of California, San Diego. She advertised this controversial work as a garage sale in local newspapers and as an art event within the local arts scene. Clothes, books, records, toys, costume jewelry, personal letters, art works, and other mementos, as well as soft-core pornographic magazines and empty welfare-food containers were displayed on racks and tables for visitors to browse and buy, after haggling with the artist over the price. Rosler’s Garage Sale implicates visitors in face-to-face transactions within a secondary, informal cash economy—exactly like garage sales held outside the museum setting. On select weekends from May 12 until summer, you can be a part of this work by donating your castoffs, no-longer-wanted objects, bric-a-brac, and odd items. Click the link to the left for more information on drop off times and locations.
Organized in conjunction with the exhibition Print/Out, Printin’ takes as its starting point DeLuxe (2005), a tour de force portfolio of 60 works by Ellen Gallagher (American, b. 1965) that challenged traditional ideas of what a print could be. DeLuxe offers a multivalent constellation of ideas, touching on such issues as portraiture, identity, history, advertising, commodity, and the disruption, translation, and recasting of space. Proposing a kind of technical dissection and conceptual unpacking of this portfolio, Printin’ brings together work by more than 50 artists from multiple disciplines in a sweeping chronology that extends from the 17th century to the present day, to propose a free-flowing yet incisive web of associations that are reflected in DeLuxe. Encompassing prints, drawings, films, books, photographs, sculptures, videos, and comic strips, the exhibition features such artists as Vija Celmins, David Hammons, George Herriman, Robert Rauschenberg, Martha Rosler, and many others, forming a dense network of formal, technical, and conceptual connections and intersections.
Martha Rosler is featured in CCA Wattis Institute's More American Photographs--the exhibition will reexamine the well-known photography program of the Farm Security Administration, 1935-44, which included artists such as Walker Evans, Ben Shahn, Dorothea Lange and Marion Post Wolcott. For More American Photographs, twelve contemporary photographers will be commissioned to travel the United States, documenting its land and people. More American Photographs aims to add to the FSA's project through the lens of the twenty-first century, which highlights, amidst natural disasters, the collapse of the housing boom, and a general lack of economic mobility, the distinct effects on different communities.
State of Mind: New California Art Circa 1970, co-organized by Orange County Museum of Art (OCMA) and UC Berkeley Art Museum and Pacific Film Archive (BAM/PFA), is the most comprehensive exhibition to date to focus on Conceptual art and related new genres in both Northern and Southern California during this pivotal period in contemporary art. Featuring more than 150 works of art, the exhibition includes installations, photographs, works on paper, videos and films, artists’ books, extensive performance documentation, and other ephemera. This includes newly discovered work as well as materials culled from archives that have rarely been viewed. State of Mind: New California Art circa 1970 is supported by a grant from the Getty Foundation as part of the unprecedented collaborative initiative Pacific Standard Time: Art in L.A. 1945–1980.
Martha Rosler will be included in the Singapore Biennale 2011: Open House. Featuring 60 artists from 30 countries, the third Singapore Biennale will be open to the public from 13 March to 15 May 2011. Over half of the artists are creating new commissions or premiering new works. 'Open House' is presented across four exhibition venues, each with their own particular character, that draw upon emblematic spaces in Singapore: Housing Development Board flats (Singapore Art Museum and 8Q), shopping centres and night markets (National Museum of Singapore), and international air and sea ports (Old Kallang Airport). In addition to a community garden project at the Old Kallang Airport, Rosler has been invited to give the Keynote Lecture on March 12.
Brooklyn Museum Seductive Subversion: Women Pop Artists, 1958–1968 October 15, 2010–January 9, 2011 Elizabeth A. Sackler Center for Feminist Art and Morris A. and Meyer Schapiro Wing, 4th Floor This large-scale exhibition examines the impact of women artists on the traditionally male-dominated field of Pop art.
Mitchell-Innes is pleased to announce a survey of photographic and video works by Martha Rosler at Centro José Guerrero in Granada. The exhibition is curated by Juan Vicente Aliaga.
Martha Rosler has been awarded the prestigious 2008 USA Visual Artist Fellowship Grant.
Martha Rosler Service: A Trilogy on Colonization Martha Rosler Library Launch of Two Martha Rosler books, with Printed Matter and e-flux Saturday, September 13, 2008, 5:00 – 7:00 PM Printed Matter is pleased to announce the launch of two Martha Rosler publications: Printed Matter's facsimile edition of Service: A Trilogy on Colonization and e-flux's Martha Rosler Library.
Organized by guest curator Lydia Yee, Street Art, Street Life examines the street as subject matter, venue, and source of inspiration for artists and photographers from the late 1950s to the present. This far ranging exhibition, one of the largest to consider the subject, includes street photography; documentation of performance, events, and artworks presented in the street; works using material from the street; and examples of street culture by more than thirty artists.
Martha Rosler location, location, location Portikus Alte Brücke 2 / Maininsel D-60594 Frankfurt am
Main Opening: July 11, 2008, 8 pm
Lecture: July 11, 2008, 6.30 pm
Exhibition on view: July 12 - September 14, 2008
Press conversation: July 11, 2008, 11 am
Ambition d'art Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony Cragg, Luciano Fabro, Yona Friedman, Anish Kapoor, On Kawara, Martha Rosler, Jeff Wall, Lawrence Weiner Exhibition from May 16th to September 21st 2008 Curator: Jean Louis Maubant
Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976 May 04, 2008 - September 21, 2008
In Action/Abstraction: Pollock, de Kooning, and American Art, 1940-1976, the first major U.S. exhibition in 20 years to rethink Abstract Expressionism and the movements that followed, over fifty key works by 32 artists – among them Jackson Pollock, Willem de Kooning, Helen Frankenthaler, Mark Rothko – will be viewed from the perspectives of influential, rival art critics Clement Greenberg and Harold Rosenberg, the artists, and popular culture.
Martha Rosler Library April 12 - June 14, 2008 Site Liverpool John Moores University School of Art and Design 68 Hope Street Liverpool L19EB Opening hours: Mon - Sat 11-6 pm Site is pleased to announce the opening of Martha Rosler Library on Friday, April 11, 2008 at 6pm.
Collage: The Unmonunmental Picture and Art & Social Life; The Case of Video Art Screening "Unmonumental" expands on January 16, 2008 with the opening of "Collage: The Unmonumental Picture." Recent collages by eleven artists, including works made expressly for the exhibition, will be installed on the gallery walls surrounding the sculptures already on view.