Also, photographic technologies are now ubiquitous, thanks especially to cell phones, many of which have quite respectable cameras built in. Martha Rosler (born 1943) is an American artist.She works in photography and photo text, video, installation, sculpture, and performance, as well as writing about art and culture.Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. Yes. 32-35. It was completely acceptable and considered cute. - I was looking for a way to express, in public fashion, my opposition to a war that seemed to be brought to us in the living room, on TV, and which posited a ‘here’ and a ‘there,’ ici et ailleurs. They were a little bit leery, but I managed to do that, and to realize that so many people have so much to say about it in the art world that what I should do is collect peopleâs responses and curate a show, and thatâs what I did at Dia (in the 1989 exhibition If You Lived Here...). I had been using the montage form to provide a collision within a frame of things we think about when we unconsciously position women as, essentially, home appliances and passive objects of desire, and it occurred to me that I should make anti-war flyers in the form of montaged tableaux drawn from mass picture magazines. Women artists can and have and continue to set up galleries, exhibitions, magazines and websites irrespective of institutional embrace and simultaneously to agitate about the underrepresentation of women in art and in museum hierarchies. The ‘audience’ you refer to has been a much talked about topic since the 1960s. âBy boiling her subject matter down into small slices of life â indeed she often consciously mimics the look and feel of âhigh artâ â she is able to situate her work in a familiar context,â says Darsie Alexander, chief curator at New Yorkâs Jewish Museum, where Irrespective, a survey show of Roslerâs work from 1965 to the present, is taking place this fall. Courtesy of the artist and Mitchell-Innes & Nash, New York. - Your work has related to women’s and feminist issues, and even your anti-war oeuvre, which is more known, takes off from this angle. These works entered the art world initially through reproduction in Artforum. Long before the advent of ‘fake news’, Martha Rosler was teaching us how to think critically about documentary imagery and reporting. Martha Rosler Interview at Paris Photo November 14, 2014. Centre de la Imatge during the exhibition “If You Lived Here Still …”, an archive project by Martha Rosler. Interview with Martha Rosler 81 Weinstock: Since this piece is less playful than the others, it seems quite different. We need to remember that there is a lot of information and knowledge and wonderful stuff out there, mostly non-fiction but fiction as well â the library was mostly non-fiction â that we need to draw upon in order to remain invested in our world as everything goes online, and it appears as though everything is present, but in a way that means nothing is present and we donât know how to pay attention to serious arguments. Get out there and do all the things we can do â performances and theater and protests and postering and constantly being visible in the world.â The only thing I donât want to do anymore is be a graphic artist and design the posters. I used to think, âIâve done work about food, Iâve done work about clothing, but I will never do anything about housing!â. And that was why the war was called âthe living-room war.â So itâs not as though we see more of the war, in some ways the framing around it is worse, but in other cases, there is a lot of advocacy for people in other situations who are, we can say, victims of (U.S.) drone strikes and other forms of warfare. Even on the level of clothing, in thinking about my anti-war work, I was very interested that the people we were fighting didnât look like us, and it was very easy to demonize them. M.R. So in a sense my aim now is to rally the forces again, and say, âCome on! Born in Brooklyn, Rosler received her BA from Brooklyn College in 1965, and went on to obtain an MFA in 1974 from … âEvery single thing I have offered to the public has been offered as a suggestion of work,â says the 75-year-old Brooklyn-born artist. - You’re very active in social media, especially Facebook. At M.R. P.B. And it took a while for it to penetrate with me, that space was also something that feminists should care deeply about. Do you think there has been a significant change or development in the relationship between the art world and its audience? Martha Rosler is known for her incisive social critique—her writing, mixed-media work, and photography have been widely esteemed since the 1970s. Itâs called POINT AND SHOOT, a mourning thought (though I am more enraged than in mourning), (2016), and itâs another kind of photomontage â itâs part of the exhibition at the Jewish Museum. She works in photography and photo text, video, installation, sculpture, and performance, as well as writing about art and culture. I doubt that. Semiotics of the Kitchen, a sort of bizarrely humorous six-minute black-and-white video from December 1974 (dated 1975), was one part of a large body of work in several media that I had been doing taking on questions of women, society, and art through the medium of food and the culture of food preparation and consumption. Martha Rosler, Window display for Monumental Garage Sale, New Museum, New York, 2000. So gradually I realized Iâd rather do those things, although I kept painting for quite a while. So the other things were just things that artists did as a way of saying, “I actually do have something to say that can be translated into images as opposed to abstractions.” See the actions and the posters put out by the fabulous Guerrilla Girls. Itâs affected us all. One of the most widely followed American mass-journalist art critics became a judge on an art reality show. How did you first develop the idea? “Feminism is a viewpoint that demands a rethinking of questions of power in society and thus has undeniable potency.” Martha Rosler is a prolific American artist and writer. Photography didnât really start to play an important role in your work until the 1980s. Feminism is a world view, or a great factor in such a perspective. Back then, even though we had our mental boxes for what war looked like, we didnât ever put them together with our own habitations and territory. (Laughs.) Why do the home, housing, and especially the domestic interior appeal to you as a fertile ground for exploration? Makeup/Hands Up, from the series House Beautiful: Bringing the War Home, (c.1967â72); Photomontage. 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