Podcast appearances and mentions of martha rosler

Co se stane, když spojíme jídlo a umění? V prvním díle nové řady podcastu Raut se bavíme s umělkyněmi Barborou Gábovou a Františkou Malaskovou o jedlých instalacích a designových hostinách nebo o chlebě jako udržitelném sochařském materiálu. Díl prostupuje sedmichodové kunsthistorické menu připravené kurátorem Piotrem Sikorou. —Podcast Raut vydává iniciativa pro současné umění tranzit.cz a vychází každé 3-4 týdny. Přihlaste se k odběru tranzit.cz a Alarmu na platformách Apple Podcasts, SoundCloud nebo Spotify, ať vám žádný díl neunikne. Podcast vznikl díky finanční podpoře Ministerstva kultury České republiky. Hlavním partnerem tranzit.cz je nadace ERSTE. Epizodou vás provázely Ester Grohová a Nela Pietrová. Dramaturgem podcastu je Max Dvořák. Zvukový obal vytvořila Ester Grohová. Zvukový mix a mastering dělal Ondřej Holý. Vizuální identitu pro celou sérii navrhlo studio Day Shift Office, food design pro doprovodné fotografie připravila Barbora Gábová ve spolupráci s Annou Kameníkovou a Natálií Košťálovou z tria Bláznivé bruschetty. Fotografkou série je Viktorie Macánová.IG @tranzit.cz@biennale.matterof.artFB @tranzit.cz@biennale.matterof.artWEB https://matterof.art/cz/podcast-raut-2025  

Martha Rosler's "house beautiful bringing the war home" and "semiotics of the kitchen", their relationship to different waves of feminism and Lisa getting her hands on a sound board Lisa Fevral: https://www.youtube.com/channel/UCJdvK5wMriowQqbGC7G0lDA https://twitter.com/LisaFevral https://www.instagram.com/lisafevral/

Episode No. 681 of The Modern Art Notes Podcast features artist Tidawhitney Lek. Lek is featured in "Spirit House" at the Cantor Arts Center at Stanford University. The exhibition considers how 33 contemporary artists of Asian descent challenge the boundary between life and death through art, including how the spiritual relates to diaspora, connections to ancestral homelands, and the experience of feeling present within multiple cultures and multiple geographies. The show's curatorial framework was inspired by spirit houses, small devotional structures found throughout Thailand that provide shelter for the supernatural. The exhibition was curated by Aleesa Pitchamarn Alexander with Kathryn Cua. It is on view through January 26, 2025. An excellent exhibition catalogue, titled "Spirit House: Hauntings in Contemporary Art of the Asian Diaspora,"  was published by the Cantor and Gregory R. Miller & Co. Amazon and Bookshop offer it for $45-50. Discussed on the program: Martha Rosler's "House Beautiful: Bringing the War Home" series may be viewed on the website of the Museum of Modern Art, New York. The work of Amir Fallah and Annie Lapin. Lek's website. Lek is a southern California-based, Cambodian-American artist whose work examines narratives surrounding and the daily experiences of a first-generation American born to immigrant parents. Her work has been included in exhibitions at the Museum of Contemporary Art San Diego, the Made in LA biennial at the Hammer Museum, University of California, Los Angeles, and the Institute of Contemporary Art Miami. Her first museum solo show was at the Long Beach Museum of Art last year. Instagram: Tidawhitney Lek, Tyler Green.

Gampert, Christianwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Im neuen SCHIRN PODCAST tauchen wir ausgehend von Martha Roslers Biografie in das politische Klima der 1960er-Jahre ein und erfahren, welche Personen, Theorien und historischen Ereignisse die Künstlerin in ihrem Schaffen geprägt haben.

Schmitz, Rudolfwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

We are hosting Paul O'Neill. We closed our last episode at a crucial and rather existential moment. This second part of our conversation extends to our small group of audience members. You will hear Paul responding to questions on the educational turn, auto-theory, and variations on how to work with artists.Ahali Conversations are often recorded with an intimate group of audience members, so if you'd like to be in the loop, and join live sessions, please feel free to get in touch.EPISODE NOTES PART 2This episode includes questions by Alessandra Saviotti, Ula Soley, Enrico Arduini, and Furkan İnan. Paul O'Neill is a curator, artist, writer, and educator. He is currently the artistic director of Publics, in Helsinki, Finland.Institute of Contemporary Arts (ICA) is an artistic and cultural center based in London. https://www.ica.art/Mick Wilson is an artist, educator and researcher based in Gothenburg and Dublin.Adrian Rifkin is a professor of art writing at Goldsmiths, University of London. http://gai-savoir.net/Dr. Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art.Richard Birkett was a curator at the ICA, London; and at the Artists Space in New York. He is currently a curator at the Yale Union art center in Portland, Oregon.Dave Beech is an artist and writer. https://www.davebeech.co.uk/Sarah Pierce is an artist based in Dublin.Nought to Sixty was a program of exhibitions and events, curated by Richard Birkett at the ICA, in 2008. Over the course of six months, the program was presenting solo projects by sixty emerging British- and Irish-based artists. https://archive.ica.art/nought-sixty-artists-index/The Copenhagen Free University is an artist-run institution, dedicated to the production of critical consciousness and poetic language. https://en.wikipedia.org/wiki/Copenhagen_Free_Universityunitednationsplaza is a project by Anton Vidokle in collaboration with Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr, and Walid Raad It operated as a temporary, experimental school in Berlin, following the cancellation of Manifesta 6 on Cyprus, in 2006. The project traveled to Mexico City (2008) and to New York City under the name Night School (2008-2009) at the New Museum. Its program was organized around a number of public seminars, most of which are available in the online archive. https://www.unitednationsplaza.org/The text Paul was referring to –Introduction to The Paraeducation Department– written by Annie Fletcher and Sarah Pierce is in the anthology Curating and the Educational Turn edited by Paul O'Neill and Mick Wilson: https://betonsalon.net/PDF/essai.pdfKate Zambreno is an American novelist, essayist, critic, and professor.Roland Barthes (1915 – 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. https://en.wikipedia.org/wiki/Roland_BarthesOctavia Butler (1947 – 2006) was an American science fiction author. Her writings have finally attracted well-deserved attention in the past years.https://en.wikipedia.org/wiki/Octavia_E._ButlerMaryam Jafri is a Copenhagen-based American artist. The artist's book Independence Days presents an expanded version of her photo installation and includes texts by Ariella Aïsha Azoulay, Paul O'Neill, Nina Tabassomi. https://www.maryamjafri.net/Lygia Pimentel Lins (1920 – 1988), better known as Lygia Clark, was a Brazilian artist and co-founder of Neo-Concrete movement. https://en.wikipedia.org/wiki/Lygia_ClarkP! is a multidisciplinary gallery and project space formerly in New York, currently based in Berlin. http://p-exclamation.com/Taken place in P!, in 2016, We are the (Epi)center was a group exhibition organized with the Center for Curatorial Studies, Bard College, featuring: Can Altay, David Blamey, Katarina Burin, Jasmina Cibic, Céline Condorelli, Marjolijn Dijkman, Chris Kraus, Gareth Long, Ronan McCrea, Harold Offeh, William McKeown, Eduardo Padilha, Sarah Pierce, Richard Venlet, Grace Weir, and many others.PARSE is an international artistic research publishing and biennial conference platform based in the Faculty of Fine, Applied and Performing Arts at University of Gothenburg. This is the visual essay Paul was referring to: https://parsejournal.com/article/before-and-after/Autotheory refers to a critical approach in which the author uses personal experiences as the major creative force and the body as the source of knowledge.Sigmund Freud (1856 – 1939) is an Austrian neurologist and the founder of psychoanalysis. Jacques Marie Émile Lacan (1901-1981) is a French psychoanalyst and interpreter of Sigmund Freud's studies. Their contributions to the psychoanalytic theory have been influential on the literary theory in terms of deciphering a work based on the psychological condition its author is in, or conversely, portraying such condition through unconscious revelations of the author within the work.Maggie Nelson is an American writer. https://en.wikipedia.org/wiki/Maggie_NelsonSemiotext(e) is an independent press, publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism, and confession. http://www.semiotextes.com/McKenzie Wark is an Australian-born writer and professor of Media and Culture at Hudson University.Raymond Williams (1921 – 1988) was a Welsh socialist writer, academic, novelist, and critic. In his essay Dominant, Residual, and Emergent, he characterizes the grounded parts of cultural groups and their operating methods. https://en.wikipedia.org/wiki/Raymond_WilliamsStephen Wright is a writer and gardener. Listen to Episode 1 to get to know him better. https://www.ahali.space/episodes/episode-1-stephen-wrightTania Bruguera is an artist and activist. https://www.taniabruguera.com/Dr. Gregory Sholette is a New York-based artist, writer, teacher, and activist.NTS is a global radio station and media platform founded in 2011 by Femi Adeyemi. https://www.nts.live/Bjork is an Icelandic singer, songwriter, composer, record producer, and actress. https://bjork.com/Annie Fletcher is the Director of the Irish Museum of Modern Art.Leninism is a political ideology developed by Russian Marxist revolutionary Vladimir Lenin that proposes the establishment of communism through dictatorship of the proletariat.Stalinism is a totalitarian extension of Leninism and a period of governing by Joseph Stalin in the Soviet Union from 1927 to 1953.COALESCE is an ongoing exhibition project by Paul O'Neill which takes place at different locations with different artists and shapes around the idea of cohabitation.

In this episode, we talk with Anthony Luvera about collaborative representation. He provides an insight into his approach to collaborative work, what collaboration means to him, and the interplay between collaboration and representation. Anthony explores his early roots in collaborative photography and how they led him to the socially-engaged work he does today. In particular, he describes his work with people experiencing homelessness and how he has formulated ethical processes to aid collaboration. Anthony also dives into his thoughts on ethical issues such as paying participants and participant consent.What you'll find inside:‘I'm really interested in using photography in a way where I'm able to involve or invite participants to co-create the work that I'm making with and about them.' (2.00)‘This idea of consent is a dialogue. And just because a participant may say yes, it doesn't preclude them from having the capacity or right to say no and to withdraw that consent.' (10.26)‘What's more important is not necessarily the duration that one has to work within, but rather is the clarity of the invitation and the sharing of information with the participants.' (15.39)‘I think the thing to remember, for me, is that it's not about someone taking part in a project. More importantly, it's about a relationship with a person and keeping the value of what you're doing in check - particularly when I'm working with people who are experiencing homelessness.' (18.40)On his photography workshop with people experiencing homelessness: ‘People came with all kinds of questions… why are you doing this? What's in it for me? What will I get out of this? Are you making money out of this? How can I make money out of this? What is this for?' (21.55)‘I can see now that my earliest experiences of photography have been about enabling other people's knowledge of photography and generating enthusiasm for photography.' (24.02)On the ethical considerations of paying participants: ‘Often the participants that I work with are on benefits, and any kind of formal payments to them would adversely affect their capacity to continue to receive those benefits. So thinking creatively about how one [pays a participant ethically], whether that's through gift vouchers or whether that's cash in hand.' (28.58)‘I think it's also important to be really open about your intentions and to be really willing and flexible about adjusting your intentions to really take on board the feedback from participants.' (33.20)What does photo ethics mean to Anthony?‘For me, photography ethics - ethics in general - is a continual questioning of is this the best possible way to use photography? Are there other ways we can use photography? And in doing so, what kinds of challenges might that present? I often think about the work of Martha Rosler - the writing of Martha Rosler as much as her photographic practise - and in particular, a statement that she wrote in her essay Post-Documentary Post-Photography? where she speaks about representational responsibility, and the kind of responsibility that is incumbent upon a photographer or any kind of cultural producer. To really take into consideration the information they convey through their practise and how they go about taking in hand the decisions they make in relation to disseminating the work, in relation to speaking about the work, as well as how the work itself is created and what it depicts. I think it's about keeping your intentions in check, it's about considering the context in which you disseminate the work, it's about how you create that work.'LinksArt on the UndergroundConstruct (project with GRAIN and SIFA Fireside)In Conversation Not Going ShoppingGravitasMermaids UKCrisisThe Bowery in two inadequate descriptive systems by Martha Rosler ResidencyPhotography for Whom magazinePost-Documentary, Post-Photography? by Martha Rosler

Installation artist, painter and photographer, Portia Munson, joined me on the podcast to talk about her work with cast-off objects, cultural waste, and girl kitsch. Tune in to hear our conversation about her work's feminist and ecological themes. We also spoke about how the objectification of women persists...in objects. And how endless inspiration can be found simply by roaming around an antiques mall or a swap-shop. Portia has a few shows happening this Summer (2022) if you'd like to catch her work in person: Find Portia Munson on Instagram: @portiamunson PPOW Gallery: "Bound Angel" July 8-Aug 19 in NYC Art Omi: June 25-Sept 25 in Ghent, NY Pamela Salisbury Gallery: June 11-July 10 in Hudson, NY Lyndhurst Mansion: "Women's Work" May 27-Sept 26 in Tarrytown, NY "The Garden" at 21C Museum Hotel in Louisville, KY ARCHIVE: Bad Girls exhibition at The New Museum: https://archive.newmuseum.org/exhibitions/235 Artist shoutouts: Jared Handelsman, Vito Acconci, Barbara Krueger, Martha Rosler, Hans Haacke, Jennifer Coates, Shari Mendelson, Kiki Smith and Valerie Hammond Thanks to Shima Star and Andrea Champlin for their great questions! Apply for Cape Cod Dune Shack residencies: Fine Arts Work Center | Provincetown Community Compact | Peaked Hill Trust Amy's fave thrifter Youtuber: Jeffrey of Real Nifty Vintage This talk was recorded live on the Clubhouse app April 12, 2022. The full, unedited audio is available on the Pep Talks for Artists club page on Clubhouse. Thanks so much for listening, rating, reviewing and supporting the Peps! Please find the podcast on Instagram @peptalksforartists to see images that go with this episode. Amy's website: amytalluto.com All licensed music is by Soundstripe --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Elaine A. King was born in Oak, Park, Illinois and grew up in the Chicago area.  She was a Professor, at Carnegie Mellon University teaching the History of Art/Theory/Museum Studies.  King received an interdisciplinary Ph.D. from Northwestern University in 1986 from the School of Speech (Theory and Culture) and History of Art. Dr. King holds a joint Masters Degree in Art History and Public Policy, from Northern Illinois University and her B.A. was awarded from Northern Illinois University in Art History and American History [Pre-Law]. In 2002 she received a Certificate of Fine Arts and Decorative Arts Appraisal New York University.  In May 2011 she was invited to become a member of the National Press Club in Washington, DC. She is a freelance critic who frequently writes for Sculpture, ARTES, Grapheion and the Washington Post. Dr. King served as the Executive Director and Curator of the Carnegie Mellon Art Gallery [1985-1991, and was the Executive Director and Chief Curator of the Contemporary Arts Center in Cincinnati, [1993-1995] following the Robert Mapplethorpe debacle. Throughout her career as a curator she organized over forty-five art exhibitions, including a wide range of one-person exhibitions and catalogues for artists, Barry Le Va, Martin Puryear, Tishan Hsu, Gordan Matta-Clark, Elizabeth Murray, Mel Bochner, Nancy Spero, Robert Wilson, David Humphrey, and Martha Rosler. In addition, she has curated a wide range of group exhibitions including Light Into Art: Photography to Virtual Reality, New Generations, New York, Chicago, The Figure As Fiction, Abstraction Today, Drawing in the Eighties, and Art In the Age of Information. In February 2007 she was the guest curator for the Maria Mater O'Neill mid-career survey exhibition for the Museo of Art Puerto Rico, San Juan that opened in February 2007 and compiled a catalogue titled Artist Interrupted, 1986-2006.  In the fall of 2009 she was a guest curator at the Mattress Factory, in Pittsburgh for the exhibition titled Likeness: Transformation of Portrayal After Warhol's Legacy. King has been the guest curator several times for the Hungarian Graphic Arts Biennial in Gyór between 1993-2005. The International Studies Art Program American University's selected her to be the distinguished Art Historian/Critic in-residence to teach in Corciano, Italy, in the fall 2006.  Additionally Elaine King and Kim Levin were asked to nominate artists for the Venice Biennale. She has been awarded numerous grants from diverse agencies including: United States Office of Information –Curatorial Grant for the American Section of the Master of Graphic Arts Biennial, Györ Hungary [shipping] Pennsylvania Arts Council Grant, Art Criticism Fellowship, The Trust for Mutual Understanding, Rockefeller Foundation, (research in Slovakia) The National Endowment for the Arts (In 1989,1988,1985, 1983) Museum s/catalogues, Hillman Foundation, Warhol Foundation, Richard K. Mellon Foundation Grant, French International Fund from Artists' Action, for the Michel Gerard exhibit, American Association of Museums, Award of Merit for the Tishan Hsu catalogue Award of Distinction, American Association of Museums for the Mel Bochner catalogue. She was awarded an IREX grant to do research in Prague on changes in contemporary art after the fall of the wall. King was part of a panel discussion on Censorship and the Culture Wars at the Ann Arbor Film Festival and a reviewer for Bullfrog Films. In September 2006, Allworth Press published the anthology titled Ethics and the Visual Arts that she and Gail Levin co-edited. Elaine King. In 2001 she was awarded a Senior Research Fellowship by the Smithsonian Institution's American Art Museum to research contemporary portraiture.  Also King was awarded a Short-term Research Fellow in 2003 from the Smithsonian Institution National Portrait Gallery as well as a Short-term Fellowship at the Smithsonian Archives of American Art.

Talk Art speaks to Mark Neville, the award winning British photographer. Since 2015, Neville (born 1966) has been documenting life in Ukraine, with subjects ranging from holidaymakers on the beaches of Odessa and the Roma communities on the Hungarian border to those internally displaced by the war in Eastern Ukraine. Through his community-based projects, Neville explores the social function of the medium, using still and moving images as well as photo books. His projects have consistently looked to subvert the traditional, passive role of social documentary practice to activate social debate and change beyond the boundaries of cultural institutions.Employing his activist strategy of a targeted book dissemination, Neville is committed to making a direct impact upon the war in Ukraine. He will distribute copies of this volume free to policy makers, opinion makers, members of parliament both in Ukraine and Russia, members of the international community and those involved directly in the Minsk Agreements. He means to reignite awareness about the war, galvanize the peace talks and attempt to halt the daily bombing and casualties in Eastern Ukraine which have been occurring for four years now. Neville's images are accompanied by writings from both Russian and Ukrainian novelists, as well as texts from policy makers and the international community, to suggest how to end the conflict.Shortlisted for Deutsche Börse Photography Foundation Prize 2020, Mark Neville works at the intersection of art and documentary, investigating the social function of photography. He makes lens-based works which have been realised and disseminated in a large array of contexts, as both still and moving image pieces, slideshows, films, and giveaway books. His work seeks to find new ways to empower the position of its subject over that of the author. Often working with closely knit communities, in a collaborative process intended to be of direct, practical benefit to the subject, his photographic projects to date have frequently made the towns he portrays the primary audience for the work. Points of reference for his practice might include the ideas of Henri Lefebvre, or the art works of Martha Rosler, John Berger, or Hans Haacke."What changes people's minds about a conflict is a poem, a song, or a photograph. It's people's feelings that need to be changed. To my mind, that's the role of the artist." Mark Neville speaking to The Guardian, February 2022.To contact Mark, follow @MarkNevilleStudio on Instagram and his official website is: http://www.markneville.com/If you are able, please help by supporting @SaveChildrenUK Emergency Fund today or text CRISIS to 70008 to donate £5. Your donation will allow their teams to help children in crisis.

Dai tempi del Vietnam, la guerra ha abbandonato le trincee e si è riversata in tv. Ma se tra eserciti e media non c'è più distinzione, come possiamo fidarci dell'informazione? Costantino e Francesco ci spiegano che sul filo spinato che divide realtà e finzione vivono alcune delle voci più interessanti dell'arte contemporanea, ma anche il personaggio più amato da chi di arte non ne capisce assolutamente nulla: Banksy.In questa puntata si parla di Buffy Sainte-Marie, Francisco Goya, Ernest Meissonier, Régis Debray, Martha Rosler, Harun Farocki, Robert Capa, Phil Collins, Marina Abramović, Hans Haacke, Hito Steyerl, Marco Travaglio, Trevor Paglen, Walid Raad, Akram Zaatari, Bernard Khoury, David Mamet, Bernard Stiegler, Banksy, Ezio Greggio, Tracey Rose, Fernando Botero, Igor Mitoraj, Lucio Fontana, Pablo Picasso e Tony Shafrazi

The medium video art gives artists the freedom to create works outside the gallery or museum space, opening avenues to record, document their performances and to be own producers and distributors. For female artists, incorporating video art into their performance works becomes a means of self-expression and the exploration of female imagery. .Resources for this episode include Jillian Mayer website, Martha Rosler website, PBS Art Assignment, Art21, Tate Museum, Museum of Modern Art, Miami New Times writer Hans Morgenstern, writer Emily Dinsdale. .Video Excerpts foudn on Youtube include: Jillian Mayer, "I Am Your Grandma," (2011)Bill Viola, "The Raft," (2004)MOMA has video excerpts for Joan Jonas "Vertical Roll," 1972 and Martha Rosler, "Semiotics of the Kitchen," 1975 You can also see images/videos discussed at my website: beyondthepaint.net

The medium video art gives artists the freedom to create works outside the gallery or museum space, opening avenues to record, document their performances and to be own producers and distributors. For female artists, incorporating video art into their performance works becomes a means of self-expression and the exploration of female imagery. .Resources for this episode include Jillian Mayer website, Martha Rosler website, PBS Art Assignment, Art21, Tate Museum, Museum of Modern Art, Miami New Times writer Hans Morgenstern, writer Emily Dinsdale. .Video Excerpts foudn on Youtube include: Jillian Mayer, "I Am Your Grandma," (2011)Bill Viola, "The Raft," (2004)MOMA has video excerpts for Joan Jonas "Vertical Roll," 1972 and Martha Rosler, "Semiotics of the Kitchen," 1975 You can also see images/videos discussed at my website: beyondthepaint.net

Der Wahlkrimi in Amerika beschäftigt die Welt, auch die Kunstwelt. Bleibt Trump weitere vier Jahre Präsident, sieht es für die amerikanische Kunstwelt bitter aus. Warum, das erklärt Elke Buhr Chefredakteurin vom Monopol Magazin. In der aktuellen Ausgabe ist ein Essay der amerikanischen Künstlerin Martha Rosler, die schon vor zwei Wochen vorhergesehen hat, was in diesen Momenten geschieht. Nicht nur die Kunstwelt ist in Gefahr, sondern auch die Demokatrie. Moderation: Yvi Strüwing detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

Die US-Wahl steht vor der Tür, und das Monopol-Magazin hat um Statements gebeten. Von US-Künstler*innen, und sie haben Statements bekommen. Von Fotos über Grafiken bis zu Essays, zum Beispiel von Martha Rosler, ist alles dabei, und vermittelt dabei einen Eindruck in die Haltung der Kunstszene in den USA. Moderation: Nico van Capelle detektor.fm/was-wichtig-wird Podcast: detektor.fm/feeds/was-wichtig-wird Apple Podcasts: itun.es/de/9cztbb.c Google Podcasts: goo.gl/cmJioL Spotify: open.spotify.com/show/0UnRK019ItaDoWBQdCaLOt

Partage“Le supermarché des images“au Jeu de Paume, Parisdu 11 février au 7 juin 2020Jeu de Paume.orgPODCAST –Interview de Peter Szendy,auteur de l'ouvrage “Le Supermarché du visible, Essai d'iconomie”, et commissaire général de l'exposition,par Anne-Frédérique Fer, à Paris, le 7 février 2020, durée 10'02. © FranceFineArt.son à insérer (click sur remplacer et changer à partir d'un url)©Anne-Fréderique Fer, visite de l'exposition en cours de montage [extrait du hall et du Chapitre I : Stocks], le 7 février 2020.Andreas Gursky, Amazon, 2016. © Andreas Gursky / Courtesy de l'artiste et Sprüth Magers / ADAGP, 2019.Martha Rosler, Cargo Cult, 1966-1972 d'après la série : Body Beautiful, or Beauty Knows No Pain. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

At the close of the First Gulf War, feminist architectural historian Beatriz Colomina wrote that “war today speaks about the difficulty of establishing the limits of domestic space.” That conflict of 1990-91 is most often cited as the first to pull the waging of war fully into the digital age and therefore into a blurring of boundaries of all kinds. Yet, most modern wars have introduced technological innovations that transform social relations and modes of communication and representation. In this paper Caren Kaplan focuses on a period that includes the Vietnam War (1955-1975) and extends into the “War on Terror” through a consideration of Martha Rosler’s photo collage series “House Beautiful: Bringing the War Home” (1967-2004). The technique of collage reinforces the artist’s emphatic effort to bring together seemingly incommensurable elements—images of exquisite domestic interiors, glamorous consumer commodities, and landscapes and bodies damaged by warfare. Literally bringing wars waged by the United States throughout this long durée into the hyper commodified environment of fashion layouts and magazine advertisement, Rosler demonstrates the impossibility of limiting domestic space, an impossibility that challenges representation across genres and practices—televisual, photographic, cinematic, social media, analogue, digital, etc. Such disturbances of “here” and “there,” “now” and “then,” resonate as powerful “aftermaths” of wars visible and invisible, always already underway. Caren Kaplan is Professor of American Studies at the UC Davis. Her research draws on cultural geography, landscape art, and military history to explore the ways in which undeclared as well as declared wars produce representational practices of atmospheric politics. Recent publications include Aerial Aftermaths: Wartime from Above (Duke 2018) and Life in the Age of Drone Warfare (Duke 2017).

UNIONIZE THE ART WORLD! This week we congratulate members of the New Museum Union’s (@newmuseum_union) bargaining committee Dana Kopel (@decafdana), Lily Bartle (@hole_earth), and Alicia Graziano. They won their vote to officially joined UAW Local 2110 last week! We discuss the conditions that led them to unionize, the inadequacy of liberal feminism, suggestions for other … Continue reading "Episode 29 – New Museum Union"

Recorded after the publication of e-flux journal issue 81 in April 2017, Xin Wang reads and discusses her text “Asian Futurism and the Non-Other” with Stephen Squibb. Xin Wang is a curator and art historian based in New York. She recently participated in e-flux journal’s feminism(s) double issue launch with Martha Rosler, McKenzie Wark, and Elvia Wilk. Past curatorial projects include Lu Yang: Arcade (2014, New York), THE BANK SHOW: Vive le Capital and THE BANK SHOW: Hito Steyerl (2015, Shanghai), chin(A)frica: an interface (2017, New York), and Life and Dreams: Photography and Media Art in China since the 1990s (2018, Ulm, Germany). Wang is currently building a discursive archive of Asian Futurisms at afuturism.tumblr.com, and is a PhD candidate in modern and contemporary art at NYU’s Institute of Fine Arts. Read “Asian Futurism and the Non-Other”: https://www.e-flux.com/journal/81/126662/asian-futurism-and-the-non-other/

Professor Steve Edwards (Birkbeck)presents his work on daguerrotypes for The Birkbeck Centre for Nineteenth-Century Studies. Steve Edwards is Professor of History and Theory of Photography in the Department of Art History at Birkbeck. His publications include: The Making of English Photography, Allegories (2006) and Martha Rosler, The Bowery in two inadequate descriptive systems (2012). His work has been translated into 11 languages and he is an editor of Oxford Art Journal and the Historical Materialism book series.

Programme de Martha Rosler pour webSYNradio : Sept heures en compagnie de Abbie Hoffman, Harry Partch, Patsy Cline, Captain Beefheart, The Fugs, Red Krayola, Joan Baez, Hazel Dickens, Florence Reese, Violeta Parra, Janis Joplin, Sarah Vaughan, Eric Dolphy, Tracey Chapman, Nico, Ralph Stanley & The Clinch Mountain Boys, Keith Whitley, Jackson Mac Low and Anne Tardos, Thelonious Monk, J. S.Bach, Bob Marley, Amanda Palmer, Pauline Oliveros, Allen Ginsberg, Otis Redding, Evan Wilson, Sam Cooke, John Cale, Rolf Schulte and Philharmonia Orchestra, Arnold Schönberg, Lord Buckley, Shir hashirim,Ray Charles, Umm Kulthum, Aretha Franklin, Prince, Bill Withers, Bessie Smith, The Penguins, Yaakov Yosef Stark, Pt.Himangshu Biswas, Emil Gilels, W.A. Mozart, Bertolt Brecht, Joan Armatrading, Neko Case, Frankie Lymon & The Teenagers, Cobra Skulls, Hot Edgard Varése, Bukka White, Frank Zappa & the Mothers of Invention, Billy Bragg, Jimi Hendrix …

Carmon Colanglo discusses On the Margins to provide context and commentary on selected works in the spring 2008 exhibition.

Martha Rosler is one of the most influential artists of her generation whose work frequently compels the viewer to rethink the boundaries between the public and the private, the social and political. Her work centres on everyday life and the public sphere