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Martha Rosler

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Martha Rosler - La collection en ligne. Martha Rosler - Catalogue en ligne. Dernière mise à jour:04-05-2017 Recherche avancée 34 résultat(s)Pages : 1 2 3 4 5 6 - Retour.

Martha Rosler - Catalogue en ligne

Martha Rosler - Site web de l'artiste. Martha Rosler – Galerie Nagel Draxler. Lebt und arbeitet / lives and works in New York 2018 Martha Rosler & Hito Steyerl, Kunstmuseum Basel, Basel.

Martha Rosler – Galerie Nagel Draxler

(upcoming, May 5 – December 2, 2018) 2016 “Housing Is a Human Right / If You Lived Here Still”, The New Foundation Seattle, Seattle. “If you can’t afford to live here, mo-o-ove!!” , Mitchell-Innes & Nash, New York. 2015 “Below the Surface”, Seattle Art Museum, Seattle. 2014 “Martha Rosler: The Bowery”, Lethaby Gallery, University of the Arts, London. 2013 “Laboratorium”, w/ Vanja Vukovic, Eulengasse, Frankfurt. 2012 “Meta-Monumental Garage Sale”, Museum of Modern Art, New York. 2011 “In Public”, Galleria Raffaella Cortese, Milano. 2010 “Lesson for Today”, with Josh Neufeld, Side Street Projects, Santa Monica “How Many Billboards? 2009 “Power Games”, Galerie Christian Nagel, Köln. 2008 “Great Power”, Mitchell-Innes & Nash, New York. 2007 “Bringing the War Home”, Worcester Art Museum, MA. 2006 “The Martha Rosler Library”, Frankfurter Kunstverein, Frankfurt. 2010 “Person is Political.

Martha Rosler - Galerie Mitchell-Innes & Nash. Lives and works in Brooklyn, NY Brooklyn-based artist Martha Rosler works in video, photography, text, installation, and performance.

Martha Rosler - Galerie Mitchell-Innes & Nash

Her work often addresses matters of the public sphere and landscapes of everyday life – actual and virtual – especially as they affect women. For many years Rosler has produced works on war and the national security climate, connecting life at home with the conduct of war abroad, in which her photomontage series played a critical part. In 2004 and 2008, in opposition to the wars in Afghanistan and Iraq, she reinstituted her now well-known series of photomontages Bringing the War Home: House Beautiful, made as a response to the war in Vietnam in the late 1960s.

She has also published several books of photographs, texts, and commentary on public space, ranging from airports and roads to housing and gentrification. Martha Rosler - Maison Européenne de la Photographie. Son travail récent poursuit cette critique des mass-médias, de la guerre, de l'économie mondiale, et des armes nucléaires dans un monde occidental hégémonique.

Martha Rosler - Maison Européenne de la Photographie

Sous la forme d'immenses installations, elle met en scène les stratégies visuelles du monde contemporain. Martha Rosler est née à Brooklyn, New York. Elle termine ses études au Brooklyn College en 1965 et obtient son diplôme des beaux-arts à l’University of California, San Diego en 1974. Elle commence sa carrière en tant que peintre. Longtemps considérée comme une artiste « underground », elle reste une pionnière dans son usage pluriel des médias. Sa série « Body Beautiful », or « Beauty Knows No Pain » (1966-72) transforme les publicités en photomontages qui montre les femmes en tant qu’objets.

Martha Rosler: "Semiotics of the Kitchen" (1975) Martha Rosler - Artist interview - Tate Modern. Was ‘pop art’ a term used by yourself or colleagues or was there a different terminology that referred to a new figurative art movement in the 1960s and early 1970s?

Martha Rosler - Artist interview - Tate Modern

Yes, the term ‘pop art’ was used by myself and people in my milieu (who got there before me!) By the mid-1960s. But it was not necessarily applied by us, to ourselves. The prevailing model of pop in the USA in the early 1960s had not quite settled on Warhol. He was considered a somewhat mystifying hybrid figure and performer, an arrival from fashion illustration, different from those who like James Rosenquist and Lichtenstein had high-art cachet – as did the earlier though rowdier Rauschenberg (and, although a bit of a stretch, Willem de Kooning). Did you ever consider yourself (now or in the past) a pop artist? Did your work engage with current events in the 1960s and early 1970s? Yes, my work certainly did engage with current events! How did you choose the subject matter for your work included in The World Goes Pop?