works

Off the Shelf: Planes, Trains, and Under Ground, 2018

C-print

71 × 56 cm

Off the Shelf: Capitalism, Democracy, 2018

C-print

71 × 56 cm

Off the Shelf: Gardening Fantasia, 2008

C-print

71 × 56 cm

House Beautiful: Bringing the War Home, 2008

Photomontage

76,2 × 259,1 cm

Point and Shoot, from the series House Beautiful: Bringing the War Home, New Series, 2008

Photomontage

76,2 × 98,1 cm

Invasion, from the series House Beautiful: Bringing the War Home, New Series, 2008

Photomontage

77,2 × 137,2 cm

Reading Hannah Arendt (Politically, for an American in the 21st Century), 2006

Installation with excerpts from Hannah Arendt's writings, in English and German, on transparent acetate panels

dimensions variable

Reading Hannah Arendt (Politically, for an American in the 21st Century), 2006

Installation with excerpts from Hannah Arendt's writings, in English and German, on transparent acetate panels

dimensions variable

Party Building, 1981

Digital c-print

27,9 × 41,3 cm

Workshop, 1981

Digital c-print

27,9 × 41,3 cm

Men, Shop Window, 1981

Digital c-print

27,9 × 41,3 cm

Plaza de la Revolución, Havana, 1981

Silver gelatin type LE print

27,9 × 41,3 cm

Men's Clothiers, Santiago, 1981

Silver gelatin type LE print

27,9 × 41,3 cm

Window Shopping, Havana, 1981

Silver gelatin type LE print

27,9 × 41,3 cm

Militia Headquarters, Camagüey, 1981

Silver gelatin type LE print

41,3 × 27,9 cm

Poetry Festival Banners, Trinidad, 1981

Silver gelatin type LE print

41,3 × 27,9 cm

Prototype (God Bless America), 2006

Video (color, silent)

1'

Backyard Economy I, 1974

color, silent

3' 26''

Backyard Economy II (Diane Germain Mowing), 1974

color, silent

6' 32''

biography

Martha Rosler was born in 1943 Brooklyn, New York, where she lives and works.
She works with Galleria Raffaella Cortese since 2009.

Rosler works with video, photography, text, installation, and performance. Her work focuses on the public sphere, exploring issues that range from from everyday life and the media to architecture and the built environment, especially as they affect women.

Rosler has for many years 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. She has also published several books of photographs, texts, and commentary on public space, ranging from airports and roads to housing and gentrification. Her writing appeared numerous times in publications such as Artforum, e-flux journal, and Texte zur Kunst. In 2012, she presented a series of photographs, shot during her trip to Cuba in January 1981, while on a tour organized by Ana Mendieta and Lucy Lippard. Taken only two months after Reagan’s election as president and three months after the culmination of the six-month-long Mariel boatlift, these photographs regard Havana’s military uniform stores, Brutalist architecture, and portraits of Che dispassionately, as so much context for the staging of Cuban public life.

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Martha Rosler was born in 1943 Brooklyn, New York, where she lives and works.
She works with Galleria Raffaella Cortese since 2009.

Rosler works with video, photography, text, installation, and performance. Her work focuses on the public sphere, exploring issues that range from from everyday life and the media to architecture and the built environment, especially as they affect women.

Rosler has for many years 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. She has also published several books of photographs, texts, and commentary on public space, ranging from airports and roads to housing and gentrification. Her writing appeared numerous times in publications such as Artforum, e-flux journal, and Texte zur Kunst. In 2012, she presented a series of photographs, shot during her trip to Cuba in January 1981, while on a tour organized by Ana Mendieta and Lucy Lippard. Taken only two months after Reagan’s election as president and three months after the culmination of the six-month-long Mariel boatlift, these photographs regard Havana’s military uniform stores, Brutalist architecture, and portraits of Che dispassionately, as so much context for the staging of Cuban public life.

Rosler has had numerous solo exhibitions at various international institutions including: The Schirn Kunsthalle, Frankfurt; MARe Museum of Recent Art in Bucharest (2022); Es Baluard Museu d’Art Contemporani de Palma, Spain (2020); MAC Museo de Arte Contemporáneo, Santiago, Chile (2019); The Jewish Museum, New York (2018); Kunstmuseum Basel (2018); MACBA, Barcelona (2017); Seattle Museum of Art (2016); Sprengel Museum, Hannover (2013), MOMA, New York, (2012); The Centro José Guerrero, Granada (2009-10); La Virreina, Barcelona (2010), the Centre Pompidou, Paris (2007); the Museum of Modern Art, Oxford (1990); and the Dia Art Foundation, New York (1989). She has been included in numerous group exhibitions at institutions such as the Hamburger Kunsthalle (2017); The Serralves Museum, Porto (2017); The Brooklyn Museum, New York (2015); The Whitney Museum of American Art, New York (2015); the Museo Nacional Centro de Arte Reina Sofía, Madrid (2013); the LA Museum of Contemporary Art, Los Angeles, (2011); Skulptur Projekte Münster 07 (2007); dOCUMENTA 7 (1982) & dOCUMENTA 12 (2007), Kassel; the Venice Biennale (2003); the Liverpool Biennial (2004); Tate Modern, London (2005, 2015).

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public exhibitions

Es Baluard Museu d’Art Contemporani de Palma

Palma de Mallorca, Spain

Martha Rosler. How Do We Get There From Here?

21.2 – 10.5.2020

Photo © Es Baluard Museu, 2020

Neubauer Collegium Chicago

University of Chicago

Martha Rosler: Passionate Signals

17.9.2019 – 31.1.2020

Photo: Robert Heishman

MAC

Parque Forestal

Santiago

Si tú vivieras aquí

26.7 – 13.10.2019

© Cristobal Molina

Kunstmuseum Basel

Basel

War Games: Martha Rosler & Hito Steyerl

5.5.2018 – 20.1.2019

Photo: Marc Asekhame

National Museum of Women in the Arts

Washington, D.C.

Women House

9.3 – 28.5.2018

Photo: Lee Stalsworth

Mamco

Geneva

House Beautiful: Bringing the War Home

11.10.2017 – 4.2.2018

Photo: Annik Wetter

An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017

New York

An Incomplete History of Protest: Selections from the Whitney’s Collection, 1940-2017

18.8 – 27.8.2017

Digital image © Whitney Museum of American Art, New York

press

Martha Rosler Wants to Know Why We Still Aren’t Outraged

Alice Newell-Hanson

NY Times

August 10, 2023

Martha Rosler

Elisa Carollo

Fondazione Imago Mundi

July 18, 2023

L’arte comunitaria e la relazione con l’altro

Christian Caliandro

November 22, 2021

Istruzioni per battere il caos. Primo passo, andare a votare

Stefano Castelli

IL – Il Sole 24 ORE

October 2020

Ana Vieira, Marina Planas and Martha Rosler Join Forces at Es Baluard Museum

Balasz Takac

Widewalls

February 26, 2020

Marta Rosler

The Jewish Museum

Rachel Churner

Artforum

March 2019

Martha Rosler's Wicked and Welcome Sense of Humor

Ilana Novick

Hyperallergic

December 13, 2018

Martha Rosler by James Eischen

James Eischen

BOMB

September 23, 2012

This Getty Show Reveals The Deep Roots Of The Media's Woes -- And How Artists Can Rescue The News

Jonathon Keats

Forbes

January 11, 2017

publications

Irrespective

Catalog published on the occasion of "Martha Rosler: Irrespective" at the Jewish Museum, New York, 2018

Martha Rosler

Yale University Press

New Haven

2018

The Art of Cooking

Martha Rosler

University of Minnesota Press

Minneapolis

2016

Service: A Trilogy on Colonization

Martha Rosler

Printed Matter

New York

1978/2008

Martha Rosler: Culture Class

Edited by Julieta Aranda, Brian Kuan Wood, Anton Vidokle

Sternberg Press

Berlin

2013

video


MAXXI museum honors women artists in new immersive show

2024

AMBIENTI 1956 – 2010. Environments by Women Artists II is an exhibition developed by Italy’s MAXXI museum and Haus der Kunst in Munich. It represents the next chapter of Inside Other Spaces: Environments by Women Artists 1956–1976, a project conceived by the German museum in 2023, which focuses on women’s fundamental contribution to the history of what is considered the least explored forms of artistic expression; at the crossroads of art, architecture and design, these environments are three-dimensional and immersive works, activated by the audience’s interaction and completed by human presence.


2016 Walter Annenberg Lecture: Martha Rosler | Live from the Whitney

2016

For the 2016 Walter Annenberg Lecture, Rosler spoke about her multidisciplinary practice and the genealogy of conceptual and feminist art in the United States with Adam D. Weinberg, the Museum’s Alice Pratt Brown Director.

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