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manpodcast:

This week’s Modern Art Notes Podcast features artist Martha Rosler. An exhibition of Rosler’s pictures of Cuba, taken in January, 1981, are on view now at Mitchell-Innes & Nash in Chelsea. Rosler and I talked last week in front of a live audience at the Baltimore Museum of Art.

Rosler will receive her first solo show at the Museum of Modern Art this November when MoMA hosts Rosler’s “Meta-Monumental Garage Sale” in the museum’s atrium. 

Rosler has been the subject of dozens of major exhibitions, including the 1999 retrospectinve “Martha Rosler: Positions in the Life World,” which was organized by Ikon Gallery in Birmingham and Generali Foundation, Vienna. That show traveled throughout Europe and to the New Museum and the International Center of Photography in New York.

To download or subscribe to The Modern Art Notes Podcast via iTunes, click here. To download the program directly to your PC/mobile device, click here. To subscribe to The MAN Podcast’s RSS feed, click here. Click here to see images of art discussed on the show.

Image: Martha Rosler, Playboy (On View) from “Bringing Home the War: House Beautiful,” 1967-72. Collection of the Museum of Modern Art, New York.

(via 3rdofmay)

melyancholy:

“The more they told me: you’re a girl, you can’t paint graffiti, you can’t go to subways, because you’re a girl, you’re a mere female; I had to stand up and just shut them up.” —Lady Pink

Lady Pink!

(via kalemason)

alexbreiding: snowstorminjuly: MY PRESIDENT. Just when I think he is the same as every power-hungry politician downtown, he does this. Thank you, Barack, for going beyond not being a douchebag. Thank you for being a compassionate person. Father of daughters. I love him.

alexbreiding:

snowstorminjuly:

MY PRESIDENT.

Just when I think he is the same as every power-hungry politician downtown, he does this. Thank you, Barack, for going beyond not being a douchebag. Thank you for being a compassionate person.

Father of daughters. I love him.

(via acbreid)

This is Lady Pink, one of the only female graffiti artists active in the ’80s. Jenny Holzer, famous for her feminist postmodern “Truisms,” designed this shirt and Lady Pink wore it around NYC.  Lady Pink and Holzer also collaborated on a series of paintings; Pink did the images, Holzer the texts. They identified with each other as women who ran around the city at night, tagging, posting, and courting danger.

This is Lady Pink, one of the only female graffiti artists active in the ’80s. Jenny Holzer, famous for her feminist postmodern “Truisms,” designed this shirt and Lady Pink wore it around NYC. 

Lady Pink and Holzer also collaborated on a series of paintings; Pink did the images, Holzer the texts. They identified with each other as women who ran around the city at night, tagging, posting, and courting danger.

(Source: deathatitsfinest, via kalemason)

kusamapyjamas: Croatian artist Sanja Ivekovic as a feminist, activist, and video pioneer will be introduced in MOMA in New York from December 18, 2011–March 26, 2012. Part of the generation known as the Nova Umjetnička Praksa (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance. As the culturenet.hr informs “this exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković’s celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women’s magazines.” “(…) After 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society’s collective memory.” via Artistic sweet violence in MOMA « Media-Via

kusamapyjamas:

Croatian artist Sanja Ivekovic as a feminist, activist, and video pioneer will be introduced in MOMA in New York from December 18, 2011–March 26, 2012.

Part of the generation known as the Nova Umjetnička Praksa (New Art Practice), Iveković produced works of cross-cultural resonance that range from conceptual photomontages to video and performance. As the culturenet.hr informs “this exhibition brings together a historic group of single-channel videos and media installations, including Sweet Violence (1974), Personal Cuts (1982), Practice Makes a Master (1982/2009), General Alert (Soap Opera) (1995), and Rohrbach Living Memorial (2005). Among the 100 photomontages featured in the exhibition is Iveković’s celebrated series Double Life (1975–76), for which the artist juxtaposed pictures of herself culled from her private albums with commercial ads clipped from the pages of women’s magazines.” “(…)

After 1990—following the fall of the Berlin Wall, the disintegration of Yugoslavia, and the birth of a new nation—she focused on the transformation of reality from socialist to post-socialist political systems. Iveković offers a fascinating view into the official politics of power, gender roles, and the paradoxes inherent in society’s collective memory.”

via Artistic sweet violence in MOMA « Media-Via

lizgip: In Special Houses, 1946-7 Part of The Black Women series Elizabeth Catlett

lizgip:

In Special Houses, 1946-7

Part of The Black Women series

Elizabeth Catlett