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Chris Kraus is often read as a chronicler of women artists' experience: their frustrated desires, stifled creativity and stolen labour. But while these are the struggles that her protagonists face, the novel sets such struggles within the pressing context of American Empire's expansion and reorganisation in the post-Vietnam era. The juxtaposition between these levels is what generates the drama of Kraus' work. Foregrounding these juxtapositions, this article situates Kraus' novels within a longer tradition of feminist conceptual artists like Martha Rosler who took the labour and domination of predominantly white middle-class housewives as a standpoint from which to attempt to understand the expansion of US-backed global capitalism. Specifically, the article draws on the concept of 'countertopographies' developed by feminist geographer Cindi Katz to argue that Rosler and Kraus' work offers a form of 'countertopographic aesthetics'. That is, they both turn to the sphere of the reproductive as a site from which to map the uneven effects of global capitalism, while also foregrounding their own uneasy relationship with the imperialist project of mapping itself, by drawing attention to the ideological practices and limits of their very mappings. To illustrate this claim, the article concludes by turning to a partially buried event in Kraus' Summer of Hate (2012): the 1983 Clifton-Morenci Copper Strike, a crucial but often overlooked flashpoint in the roll-out of neoliberalism. This eighteen-month strike was fought by a largely Mexican-American workforce, and the Women's Auxiliary, who joined a long history of working-class housewives like the Housewives' Committee of Siglo X in Bolivia in becoming strike leaders. I argue that the strike is both crucial to the conjecture that Kraus' narrative traces, and also illuminating of the limit point of the protagonists' politics and the form of mapping that is possible from such a perspective. [ABSTRACT FROM AUTHOR]

This article explores a certain type of affect that accompanied the post-1945 European dream: the feeling that an impassable distance separates us from worlds at war. Starting with the interplay between protected spaces and devastated territories, the article seeks to trace the operations that give life to this affect of distance. How does this distance play a part in our ways of being at war? And what kind of agentivity is at work, which makes it possible not to feel involved? Drawing on Martha Rosler’s montages of images and a fragment of Simone Weil, the article unravels the tortuous mechanisms that allow us to be at war, while at the same time setting war apart.

This article explores a certain type of affect that accompanied the post-1945 European dream: the feeling that an impassable distance separates us from worlds at war. Starting with the interplay between protected spaces and devastated territories, the article seeks to trace the operations that give life to this affect of distance. How does this distance play a part in our ways of being at war? And what kind of agentivity is at work, which makes it possible not to feel involved? Drawing on Martha Rosler's montages of images and a fragment of Simone Weil, the article unravels the tortuous mechanisms that allow us to be at war, while at the same time setting war apart. [ABSTRACT FROM AUTHOR]

This article aims to study the aesthetic and political devices that implement feminist Martha Rosler’s and Barbara Kruger´s photomontages. For this it is necessary to identify and react against these works system imposed by patriarchy. In Martha Rosler’s photomontages we will analyze the modes of objectification of women and the ways to domopolític control is down at home. Furthermore, we go into the fittings and reassembly of images, and differential and deconstructive structure, the artist puts into practice with emancipatory purposes. In the case of Barbara Kruger will focus on his critique of the modes of representation of women in the media. Also, get up minutes of their device ownership and image-text relationship. Finally, we will balance the ethical and ontological implications underlying these aesthetic-political devices in relation to the thesis defended by the feminism.

This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the “here” and “there” that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be “in time,” “to be present,” the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler’s protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler’s photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest?

Adair Rounthwaite Minneapolis: University of Minnesota, 2017; 280 pages; 57 b/w photos; 12 color illus.; Paperback: $27.00; Cloth: $108.00 Reviewed by: Johanna Gosse, Visiting Assistant Professor and Scholar-in-Residence, Department of Art and Art History, University of Colorado, Boulder

Between 1973 and 1976 a few students like Fred Lonidier, Phel Steinmetz, Martha Rosler and Allan Sekula got together at the University of California in San Diego and shared photography practice and artistic thoughts and developed a critical practice linked to the artistic, political, social and economical topics of their time. The UCSD welcomed European thinkers who brought a critical mind and left-wing thoughts among most students as well as among the four photographers who were personally standing up for many causes. They were interested in the early 1970s' American society and especially in its capitalist facets. Using various points of view, the young photographers showed and criticized the social, political and artistic consequences of those capitalist ideas, which were also affecting other fields than politics. These four photographers have triggered a real reflexion and offered a personal, new and engaged perspective on a capitalist society and its effects. Indeed, with its productions (texts, photographs, and performances) the San Diego School is a perfect illustration of that counter culture. [ABSTRACT FROM AUTHOR]

El espacio urbano, concebido como un entramado vivo donde confluyen las distintas identidades que lo habitan y recorren, supone para el artista contemporáneo una fuente de inspiración y un lugar propicio para la acción y la experimentación. Con espíritu crítico, indaga en las problemáticas subterráneas que se esconden bajo la falsa idea de ciudad planificada, inerte y estable. El presente artículo tiene como objetivo identificar algunas de las estrategias utilizadas en intervenciones artísticas y comunales, todas ellas tejidas en la trama social, que apelan al ciudadano desde la contra-narrativa o escritura democrática que desarma el discurso institucional y hegemónico que impera en la sociedad. Para ello, analizamos algunos de los proyectos llevados a cabo por tres artistas pertenecientes a tres generaciones distintas dentro del contexto americano de la posmodernidad: Martha Rosler, Janet Cardiff y Candy Chang, cuyo trabajo, de carácter reivindicativo al mismo tiempo que sutil, se centra en el sujeto urbano, la memoria del lugar, y en la poética del territorio como herramienta de transformación social.

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La crítica feminista ha tenido siempre en el punto de mira a la familia como resultado de la construcción ideológico-política del poder dominante masculino. El presente artículo tiene por objeto determinar tanto las formas de control social de las mujeres en el espacio doméstico y familiar diseñado por el orden patriarcal occidental, como las prácticas de desvío y descentramiento que pretenden resignificar, desde las prácticas de la videoperformance, dichas coacciones. Para ello, analizaremos la videoperformance Semiotics of the kitchen (Martha Rosler, 1975) como caso en el que se ejemplifican los modos de ruptura del orden familiar dominante en tres campos: el lenguaje, la identidad y la política. En el ejercicio analítico de este texto audiovisual estableceremos un diálogo con las teorías de Jaques Derrida, Jacques Lacan, Michel Foucault y Gilles Deleuze y con las teorías feministas, fundamentalmente con las tesis en torno al problema del género, que Judith Butler plantea asumiendo, y a su vez criticando, el legado de estos filósofos estructuralistas y postestructuralistas.

Copyright of BRAC: Barcelona, Research, Art, Creation is the property of BRAC: Barcelona, Research, Art, Creation and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Considering questions of feminism, the home and migrations within (especially women's) art after World War II, this article examines the figure of the housewife in art of the UK and the US from the 1950s to the 1980s. Exploring conflations of women's identity with questions of domestic labour, representations of the housewife's configuration with appliances is of especial importance, leading to this article's proposition of the figure of ‘woman-as-appliance’. Such a figure is explored through examination of, in particular, Richard Hamilton's painting$he(1958–1961) and the video projectBorn to be Sold: Martha Rosler Reads the Strange Case of Baby $M. This article argues for woman-as-appliance as the barred subject par excellence, as the megamachine of domestic labour (through an adaptive appropriation from Lewis Mumford), and (by way of McKenzie Wark and Donna Haraway) in her cyborgic transfigurations. [ABSTRACT FROM PUBLISHER]

Estudio de la instalación fotográfica de Martha Rosler acerca de un barrio deprimido de Nueva York, titulada El Bowery en dos sitemas de representación inadecuados (1975), y exposición de las reflexiones de la artista sobre la capacidad del medio fotográfico para convertirse en herramienta política.Study of Martha Rosler’s photo-installation concerning a deprived neighbourhood in New York, entitled The Bowery in two inadequate descriptive systems (1975), and presentation of the artist’s reflections on the ability of photography to become a politcal tool.

The most violent of the forces of globalization, imperialist colonization – whether as military, economic or cultural invasion – has provided the subject for American artist Martha Rosler's critiques and projects over the course of nearly fifty years of artistic practice. This article provides an original account of the significance of Rosler's return, during the American ‘war on terror’ in the 2000s, to her previous anti-war photomontage series, originally produced in the 1960s and 1970s during the American war in Vietnam, entitledBringing the War Home. Through a critical examination of the concept of the reboot as operative within both the Bush administration's policies and the meta-critique of such policies which Rosler's activist art strategies deploy, this article situates these photomontages within the artist's overall practice, particularly her work appropriating popular cultural forms, formats or artefacts, as well as her work critiquing forms of American military imperialism, especially in Chile. [ABSTRACT FROM PUBLISHER]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the difference between the home front and the war front or the "here" and "there" that drives modern warfare—the photomontages, this essay argues, also engage the temporal politics of protest. The problem of how to be "in time," "to be present," the problem that frames street photography and its critical history, is at the center of this essay and, it contends, Rosler's protest. By drawing out this critical framework, this essay addresses the still-urgent questions that Rosler's photomontages pose: When is the time of protest? Does protest happen now? Is there still time for protest? [ABSTRACT FROM AUTHOR]