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martha rosler studio

@martharoslerstudio

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martha rosler gives an audio tour @thejewishmuseum. to hear, go to:
www.tour.thejewishmuseum.org by @martharoslerstudio

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by @martharoslerstudio

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“Breaking for Freedom,” Martha Rosler, 2020.

“The frogs have managed to jump out of the boiling pot just in time.” —Martha Rosler

Martha Rosler on the US presidential election for Artforum(AFTERSHOCK: MARTHA ROSLER, November 08, 2020). by @martharoslerstudio

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The 25 Most Influential Works of American Protest Art Since World War II, T Magazine, Oct. 2020.

Dread Scott, Catherine Opie and Shirin Neshat, T contributor Nikil Saval and Whitney Museum of American Art assistant curator Rujeko Hockley, nominated works they consider most powerful or influential American protest art made anytime after World War II.

Video by Scott J. Ross @scottrossfilm

Image credits:
-Yoko Ono, “Cut Piece,” 1964 ©Yoko Ono. Photo: Minoru Niizuma.
-Barbara Kruger’s “Untitled (Your Body is a Battleground)“ (1989). Courtesy of the artist and The Broad Art Foundation.
-Andreas Sterzing’s “David Wojnarowicz (Silence = Death)” (1989). Courtesy the artist and P·P·O·W Gallery, New York.
-From LaToya Ruby Frazier’s “Flint is Family” (2016-17) series, “City of Flint Water Plant and the Industrial Iron & Metal Co.” Courtesy of Artist and Gladstone Gallery, New York and Brussels.
-A still from Forensic Architecture’s “Triple-Chaser” (2019). Forensic Architecture/Praxis Films, 2019.
-Hank Willis Thomas’s “All Power to All People” (2017). © Hank Willis Thomas. Courtesy of the artist and Jack Shainman Gallery, New York. Photo: Philly Mural Arts/Monument Lab.
-Agnes Denes’s “Wheatfield — A Confrontation: Battery Park Landfill, Downtown Manhattan — Blue Sky, World Trade Center” (1982). © Agnes Denes, Courtesy Leslie Tonkonow Artworks + Projects. by @martharoslerstudio

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“Food Riot? Food Riot!,” Martha Rosler and Josh Neufeld, e-flux Journal #110, June 2020.

I began writing The Art of Cooking in the mid-1970s and periodically revisit the manuscript. A mock dialogue between Julia Child, the early television chef schooling Americans in how to produce haute cuisine at home, and then New York Times restaurant critic Craig Claiborne, it uses food and the construction of elevated taste (“art”) to explore value and its relation to gender, class, race, and colonization. The present episode centers on access to food. Specifically, it takes on the people’s right to affordable high-quality food—and the repeated effort to either get fair prices, with government support, from producers and middlemen or otherwise obtain and distribute food by other means, such as by seizing and allocating it via actions often called food riots, which are a recurring form of people’s justice.

Josh Neufeld and I have worked on this comic off and on for about a year, and its topicality and resonance have varied as we did so. In the run-up to publication, when hoarding and price gouging scarred the coronavirus pandemic response, the comic, as already written, seemed to pitch itself in one direction. But as we are about to go to press, with the comic still unchanged, a different question of justice is at stake: people’s right to demand justice and equal treatment as well as equal access to social goods under the law in every aspect of life. No justice, no peace.

—martha rosler by @martharoslerstudio

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“I’ve never believed in telling anyone, let alone artists, what to do. My work is to outline problems, and hope that others can discern paths to action. I continue to believe that artists should act as citizens—participating in public life. Today, both civic engagement and a commitment to vote are necessary, as we are in a state of emergency, as Trump threatens to refuse to leave office. Systemic political and social inequalities, and environmental despoliation, are necessarily combated with simplified public campaigns for change: activism requires distillation and overstatement, and symbolic action. That is part of the pragmatics and rhetorics of change, but in reality both strategy and tactics of social movements are under constant renegotiation. Those who criticize from the sidelines are rarely willing to come on into the struggle.
On its own, art has little power to drive change in the public arena; together with a public movement, it is the greatest concentrator of energy, both symbolic and real, that there can be. In my view, artists should recognize their roles—in our work and discursively, and providing a context for human understanding— as fulcrums for the levers of positive change. But for god’s sake, now let’s take to the voting booths, and take to the streets.”

Martha Rosler wrote for the October issue of the Italian daily Il Sole 24 Ore, which is dedicated to the US Presidential election 2020. by @martharoslerstudio

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Pencicle of Praise, Martha Rosler, 2018, distributed by VDB and EAI.

Vice President Mike Pence eagerly plays cheerleader in chief for Donald Trump. In accepting the vice-presidential nomination in 2016, Pence proclaimed, “I'm a Christian, a conservative, and a Republican — in that order,” suggesting how we might understand his role. This ground-breaking, earth-shaking video begins with a pomp-ridden televised press conference, accompanied by uplifting music. Held early in 2017 at the White House Rose Garden, it showcased the president’s announced withdrawal from the historic Paris Climate Accord. As the video proceeds, we witness Pence and other minions enacting pious gratitude on behalf of the president. With the Vice President lurking in the shot, the video finally launches a takeoff.

The renditions of the Battle Hymn of the Republic and the U.S. national anthem in this work were part of the Rose Garden broadcast, which both begins and ends the video.

—Martha Rosler, February 2020 by @martharoslerstudio

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remembering Víctor Jara, killed on this day, with an excerpt from “the restoration of high culture in chile” (1977), a photo and text work.
#victorjara #chile1973 #11september1973 #11septiembre1973 by @martharoslerstudio

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