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Martha Rosler Reads Vogue
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Martha Rosler Reads Vogue

Martha Rosler Reads Vogue (still), 1982. Courtesy of Martha Rosler and Electronic Arts Intermix (EAI), New York.

Bar Laika presents
Martha Rosler Reads Vogue
Date
December 6, 2018, 9pm
Bar Laika by e-flux
224 Greene Avenue
Brooklyn, NY 11238
USA

Bar Laika is proud to present Martha Rosler Reads Vogue (1982, 25:22 minutes).

In this live performance for Paper Tiger Television’s public-access cable program in New York, Rosler deconstructs the messages in Vogue and its advertising. Rosler looks at the institutional slants of the magazine industry and the fashion industry’s reliance on sweatshops.

Produced with Paper Tiger Television, NYC. This show was made by Diana Agosta, Pennce Bendes, Shu-Lee Chang, Dee Dee Halleck, Esti Marpet, Vicki Golson, Mike Penland, and David Shalan.

In her work in video, photo-text, performance, critical writing, and installation, Martha Rosler constructs incisive social and political analyses of the myths and realities of contemporary culture. Articulated with deadpan wit, her video works investigate how socioeconomic realities and political ideologies dominate ordinary life. Presenting complex critical analyses in accessible forms, Rosler’s video works merge performance, narrative, documentary, and mass media images.  Martha Rosler lives and works in Brooklyn. Her survey exhibition Irrespective is currently on view at the Jewish Museum.

Martha Rosler Reads Vogue is presented courtesy of the artist and Electronic Arts Intermix (EAI), New York.

For more information, contact laika@e-flux.com.

Category
Film
Subject
Pop Culture

Martha Rosler utilizes various media in her work, primarily video and photography, and also installation and sculpture; she also writes about art and culture. Her work has for decades considered matters of the public sphere and mass culture; war and geopolitical conflict; housing, urbanism, and the built environment, and systems of transportation—especially as these affect women. Many of her projects have been extrainstitutional or developed and enacted with groups of people. Rosler sees her work, her teaching, and her writing as continuations of a broader engagement with the currents of cultural critique and social and political change. Her work may best be summed up as both a conceptual art and an activist practice—focused on questions of representational form but joined, however uneasily, to a commitment to political agitation. Video, which she adopted in its infancy, presented itself as at the crossroads of both. Rosler spent the 1970s in California and Canada. In 1980, she returned to her native Brooklyn, where she lives and works.

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