In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
Building on an influential 1977 feminist exhibition, the Smithsonian’s updated edition takes a more inclusive approach, adding further nuance to the question of how and who gets to define feminist art.
The works at Center for Book Arts embrace a wide spectrum of emotions and subjectivities outside of White-centric definitions of what an “American” is.
Rosler is not expecting art to end wars or change policy, but she wants to make the viewer pay attention to both in the first place.
At the College Art Association conference, artists, curators, and writers will talk about contemporary forms of feminist resistance and their historical precedents.
On March 23, UnionDocs is showing the latest version of a still-in-progress documentary Martha Rosler filmed in South Africa in 1990.
Far from serving as an excuse for self-pity or left melancholy, the Occupy Museums event was an effective counter-inaugural: a ceremony marking a wider commitment to shared struggle.
On Tuesday night at WhiteBox, artists used their work to sound a clarion call to political action.
Gentrification and related issues of rising rents, the paucity of affordable housing, and the astronomical gap between the wealthy and the poor have been appearing in public discourse at an increasing rate, in exhibitions, in public art projects, in organized protests.
SEATTLE — “Home Prices Bring Smiles, Tears.” “Anti-Homeless Attacks Won’t Solve Problem.” When I saw these headlines running across the Seattle Times and Seattle Weekly newspapers earlier this month, a single sentence flashed through my mind, on repeat: “Housing is a human right.”
Agitprop! ought to be an outstanding exhibition of politically engaged art. A feverish amalgam of historic and contemporary artwork, the exhibition is undermined by an ambitious but poorly executed curatorial strategy.
EAST LANSING, Mich. — As digital and web-based forms of dissemination have competed with video art, what is left to distinguish it as a standalone genre?