Martha Rosler, Cleaning the drapes, 1967-1972, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

Martha Rosler, Sea-Tac (Seattle), 1988, stampa fotografica, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen.

Martha Rosler's Moments of War on the Domestic Front

Martha Rosler, Photo-op, 2004, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

Martha Rosler, Back Garden, 2004, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

Martha Rosler, Playboy (On View), 1967-1972, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

Martha Rosler, Beauty Rest, 1967-1972, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

Martha Rosler, Vacuuming Pop Art, 1966-1972, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

Martha Rosler, Woman with Cannon (Dots), 1967-1972, fotomontaggio, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen.

Martha Rosler, Bowl of Fruit, 1966-72, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

 

GAM Galleria Civica D'Arte Moderna
via Magenta, 31
+39 011 4429610
Turin
Martha Rosler. As If
October 24, 2010-January 30, 2011

Martha Rosler works in a variety of mediums, her most recognizable being photo-collage and photo-text. She also creates video installations and performance art. Her work frequently contrasts the domestic lives of women with international war, repression and politics, and pays close attention to the mass media and architectural structures.

Martha Rosler, born in New York, where she lives today, studied until 1965 at Brooklyn College of the City University of New York and received her masters of fine arts degree at University of California in San Diego in 1974. Since 1980, she has been teaching at Rutgers University, New Brunswick/New Jersey at the Städelschule, Frankfurt am Main, at Columbia University, and at Whitney Museum of American Art in New York. Rosler's works have been shown at the Documenta 7 and 12 in Kassel, and at the Whitney Biennales of 1987 and 1989. In 1989 Martha Rosler organized the project If You Lived Here..., which addressed living conditions in urban environments, architecture, and utopian ideas. Rosler involved not only artists and film/video makers but also architects, activists, street artists, and the homeless, thus accentuating communicative and activist aspects. it was shown at Dia Art Foundation of New York in 1989, In 1999, the Generali Foundation (together with Ikon Gallery of Birmingham, England) organized the first comprehensive retrospective of the artist's work, which toured art institutions throughout Europe and the United States. Her work has been shown at London's Institute of Contemporary Art. She had a series of solo exhibitions at the University of Rennes (2006) and at the Worcester Museum of Art (2007).

In her performances, videos, textual works, photographs, and installations, Rosler confronts her audiences with political subjects and the role of the media, analyzing quotidian, domestic, and urban life from a feminist viewpoint not altogether devoid of humor. In her photomontage series, Beauty Knows No Pain, or Body Beautiful (1965-74), she used techniques of collage to create a sense of unease with the ways in which women are portrayed. She has used this technique continuously, as in her well-known series of photomontages, Bringing the War Home: House Beautiful, reprised in relation to the War in Iraq in 2004, and Bringing the War Home: In Vietnam (1967-72). In her installation B-52 in Baby's Tears (1974), Rosler scrutinizes the role of the mass media in wartime. By the mid-1970s she had begun to employ so-called "Wordworks" (textual works) to focus on food as a central factor in social and politico-economic terms. Food and its part in the construction of the female role was also the theme of Rosler's performance video, Semiotics of the Kitchen (1975). A further essential aspect of Martha Rosler's work is to be seen in her critical approach to the social implications of urban structures. Her photo/text installation entitled The Bowery in two inadequate descriptive systems (1974-75), is considered one of the most important reflections on the role and the representative character of documentary photography. Some of her earliest video works are Semiotics of the Kitchen (1974-75), Vital Statistics of a Citizen, Simply Obtained (1977), Losing: A Conversation with the Parents (1977).

Rosler was awarded the Spectrum International Prize in Photography for 2005, the Oskar Kokoschka Prize (Austria's highest fine arts award) in 2006, and the Anonymous Was A Woman Award in 2007.

Rosler's photomontage and photo series in the exhibition Include: In the Place of the Public, Airport Series, 1988-1992; Beauty Knows no Pain, or Body Beautiful (1966-1972); Bringing the War Home, Iraq (2004); Bringing the War Home, House Beautiful (1967-1972); Transitions & Digressions (1982-1997); Know Your Servant Series No. 1 North American Waitress, Coffee Shop Variety (1976); and House Beautiful, the Colonies (1967-1972).

— Selected excerpts by Monika Vykoukal, Generali Foundation

Martha Rosler, Frontier, 1967, fotomontaggio, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen.

Martha Rosler, Joan of Arc, 1966-72, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).

\Martha Rosler, Know Your Servant, Series N. 1: North American, Coffee-Shop Variety, 1976, 7 stampe fotografiche, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen

\Martha Rosler, Know Your Servant, Series N. 1: North American, Coffee-Shop Variety, 1976, 7 stampe fotografiche, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen

Martha Rosler, Kassel (Barefoot #3), 1982, Stampa fotografica, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen

Martha Rosler, To the Moon, 1972, fotomontaggio, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen.

Martha Rosler, New Jersey Mall, 1987, Stampa fotografica, Courtesy l’artista e Galerie Christian Nagel, Köln/Berlin/Antwerpen.

Martha Rosler, Gladiators, 2004, fotomontaggio, Courtesy l’artista e Mitchell-Innes & Nash Gallery (New York).