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.

In A Budding Gourmet, Rosler explores the ideological processes through which food preparation comes to be seen as "cuisine," a product of national culture. Accompanied by the strains of a violin concerto, Rosler's deadpan narrator explains her reasons for wanting to become a gourmet. Photog ...

In these three short, early Super-8 films, Rosler reflects on the relationship between labor and leisure. Set in the arch-American "home movie" context of a sunny suburban yard, Backyard Economy I and II document the mundane activities of a woman going about her domestic chores. Qu ...

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. O ...

This distanced narrative, which approximates a soap opera or a TV interview of bereaved relatives of a victim, confronts two means by which food is used as a weapon: the internalized oppression of self-starvation as a consequence of social learning (anorexia nervosa), and starvation because of pover ...

In an astute deconstruction of the political ideology that pervades the everyday, The East is Red, The West is Bending is a tongue-in-cheek presentation of a booklet that accompanies a newly marketed consumer appliance, a West Bend electric wok. In this performance-based work, Rosler reads th ...

From a collection of newly restored (and newly available) work, including Super 8 films, installation elements, and works for television spanning the period 1974 to 1992. Other titles include In the Place of the Public: Airport Series, Martha Rosler Reads "Vogue", and The Garden Spot of the World.

This chilling tape, "operatically" conceived — but neither a musical nor a documentary — probes the objectification of women and others in a technological/bureaucratic society. At its core is a long, continuous shot that reveals the part-by-part measurement and evaluation of a woman by a ...

In an inquiry into the relation between the corporation, the state and the family, Domination and the Everyday presents a fractured barrage of simultaneous sound tracks, film stills and a crawling text. Questioning the privatized existence of a woman and child, and the role of media informati ...

Secrets From the Street examines the intersection of cultures and classes as exemplified by the street life of San Francisco's Mission District. This videotape, produced for an exhibition held jointly at San Francisco's City Hall and its Museum of Modern Art, argues — against the show's ...

Performance. A reassessment of the attempts of the feminist movement to renegotiate gender, sexual, and domestic arrangements between heterosexual couples in relation to external and internal pressures.

A silhouetted figure of ambiguous identity, in street gear and carrying a giant boom box, scrawls messages of resistance on projected slides of Reaganist imagery and on an annotated map of Central and Latin America.

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.

Rosler identifies the totalitarian implications of an argument for torture under certain circumstances, as it appears in the editorial pages of Newsweek magazine. Her critique is formulated through voiceover narration and an on-camera collection of print media — articles on subjects ran ...

This tape documents a multimedia installation with performance elements, which includes a simulated war room with altered maps, nuclear-weapons descriptive material, recruitment posters, military clothing, a slide show of U.S. and European protest marches and posters, giant newspaper collages, a vid ...

In a collusion of text and image, Rosler re-presents the NBC Nightly News and other broadcast reports to analyze their deceptive syntax and capture the confusion inserted intentionally into the news script. The artist questions the fallibility of electronic transmission by emphasizing the dis ...

Born to be Sold is Paper Tiger Television and Rosler's acerbic and witty interpretation of the notorious "Baby M" case, in which a natural — "surrogate" — mother and father of a baby fought each other for custody of the child. Rosler assumes the various roles of the participants i ...

This tape documents an installation, which included color photographs and texts. The work was first displayed as an ensemble in 1990, but with photographs extending as far back as the early 1980's, and, in subsequent versions, up to 1998. Here Rosler explores the system of air travel and its associa ...

Rosler writes, "The city of Seattle is not much more than 125 years old. It was named after a prominent chief of the Duwamish tribe, which was dispossessed along with other local tribes in the settlement of the town. In 1991 I conducted video interviews with some native American residents of Seattle ...

Shot in a Le Corbusier housing project, Firminy-Vert, in south central France, this tape traces its history through an exploration of the way in which residents live in and with it as an architectural entity. Called by its residents Le Corbu after its renowned architect, the complex was built after ...

This tape is the video element of an installation with computer animation, maps, books, photographs, and text handout. Rosler presents a tour of the history and toxic hazards in the artists' home community in Brooklyn, New York, with books suggesting how to fight polluting industries.

Rosler creates a kind of whirling music-video burlesque to offer icons and reminders of the conjunction in Chile of U.S. corporate presence, popular musical strains, and victims of political terror. Chile, at the southernmost end of South America, is on the fast track to admission into the economic ...

In this new video work, Rosler presents a short but incisive statement. A mechanical toy figure dressed as an American soldier plays "God Bless America" on a trumpet. The camera pans down, revealing that the toy's camouflage-clad trouser leg has been rolled up to uncover a mechanism that looks uncannily like a prosthetic limb.

Born to be Sold is Paper Tiger Television and Rosler's acerbic and witty interpretation of the notorious "Baby M" case, in which a natural — "surrogate" — mother and father of a baby fought each other for custody of the child. Rosler assumes the various roles of the participants i ...

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.

In A Budding Gourmet, Rosler explores the ideological processes through which food preparation comes to be seen as "cuisine," a product of national culture. Accompanied by the strains of a violin concerto, Rosler's deadpan narrator explains her reasons for wanting to become a gourmet. Photog ...

Rosler identifies the totalitarian implications of an argument for torture under certain circumstances, as it appears in the editorial pages of Newsweek magazine. Her critique is formulated through voiceover narration and an on-camera collection of print media — articles on subjects ran ...

Set in the arch-American "home movie" context of a sunny suburban yard, Rosler's early Super-8 film Backyard Economy I documents the mundane activities of a woman going about her domestic chores. Quietly depicting this figure in the task of hanging laundry to dry, Rosler points up the labor ...

Set in the arch-American "home movie" context of a sunny suburban yard, Rosler's early Super-8 film Backyard Economy ll (Diane Germain Mowing) documents the mundane activities of a woman going about her domestic chores. Quietly depicting this figure in the tasks of mowing and watering the g ...

Born to be Sold is Paper Tiger Television and Rosler's acerbic and witty interpretation of the notorious "Baby M" case, in which a natural — "surrogate" — mother and father of a baby fought each other for custody of the child. Rosler assumes the various roles of the participants i ...

Rosler creates a kind of whirling music-video burlesque to offer icons and reminders of the conjunction in Chile of U.S. corporate presence, popular musical strains, and victims of political terror. Chile, at the southernmost end of South America, is on the fast track to admission into the economic ...

In an inquiry into the relation between the corporation, the state and the family, Domination and the Everyday presents a fractured barrage of simultaneous sound tracks, film stills and a crawling text. Questioning the privatized existence of a woman and child, and the role of media informati ...

This tape documents a multimedia installation with performance elements, which includes a simulated war room with altered maps, nuclear-weapons descriptive material, recruitment posters, military clothing, a slide show of U.S. and European protest marches and posters, giant newspaper collages, a vid ...

"This short film was intended to create a colour field painting based on the flower fields that provided the living for so many, mostly undocumented, workers in the area. When the camera closes in on the beautiful colour-striped hillside, the laborers in the field can be seen. Later, in a run up Hig ...

Shot in a Le Corbusier housing project, Firminy-Vert, in south central France, this tape traces its history through an exploration of the way in which residents live in and with it as an architectural entity. Called by its residents Le Corbu after its renowned architect, the complex was built after ...

In a collusion of text and image, Rosler re-presents the NBC Nightly News and other broadcast reports to analyze their deceptive syntax and capture the confusion inserted intentionally into the news script. The artist questions the fallibility of electronic transmission by emphasizing the dis ...

This tape documents an installation, which included color photographs and texts. The work was first displayed as an ensemble in 1990, but with photographs extending as far back as the early 1980's, and, in subsequent versions, up to 1998. Here Rosler explores the system of air travel and its associa ...

This distanced narrative, which approximates a soap opera or a TV interview of bereaved relatives of a victim, confronts two means by which food is used as a weapon: the internalized oppression of self-starvation as a consequence of social learning (anorexia nervosa), and starvation because of pover ...

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.

Performance. A reassessment of the attempts of the feminist movement to renegotiate gender, sexual, and domestic arrangements between heterosexual couples in relation to external and internal pressures.

In this new video work, Rosler presents a short but incisive statement. A mechanical toy figure dressed as an American soldier plays "God Bless America" on a trumpet. The camera pans down, revealing that the toy's camouflage-clad trouser leg has been rolled up to uncover a mechanism that looks uncannily like a prosthetic limb.

Rosler writes, "The city of Seattle is not much more than 125 years old. It was named after a prominent chief of the Duwamish tribe, which was dispossessed along with other local tribes in the settlement of the town. In 1991 I conducted video interviews with some native American residents of Seattle ...

Secrets From the Street examines the intersection of cultures and classes as exemplified by the street life of San Francisco's Mission District. This videotape, produced for an exhibition held jointly at San Francisco's City Hall and its Museum of Modern Art, argues — against the show's ...

Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, "An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration." In this performance-based work, a static camera is focused on a woman in a kitchen. O ...

In these three short, early Super-8 films, Rosler reflects on the relationship between labor and leisure. Set in the arch-American "home movie" context of a sunny suburban yard, Backyard Economy I and II document the mundane activities of a woman going about her domestic chores. Qu ...

In an astute deconstruction of the political ideology that pervades the everyday, The East is Red, The West is Bending is a tongue-in-cheek presentation of a booklet that accompanies a newly marketed consumer appliance, a West Bend electric wok. In this performance-based work, Rosler reads th ...

This tape is the video element of an installation with computer animation, maps, books, photographs, and text handout. Rosler presents a tour of the history and toxic hazards in the artists' home community in Brooklyn, New York, with books suggesting how to fight polluting industries.

From a collection of newly restored (and newly available) work, including Super 8 films, installation elements, and works for television spanning the period 1974 to 1992. Other titles include In the Place of the Public: Airport Series, Martha Rosler Reads "Vogue", and The Garden Spot of the World.

This chilling tape, "operatically" conceived — but neither a musical nor a documentary — probes the objectification of women and others in a technological/bureaucratic society. At its core is a long, continuous shot that reveals the part-by-part measurement and evaluation of a woman by a ...

A silhouetted figure of ambiguous identity, in street gear and carrying a giant boom box, scrawls messages of resistance on projected slides of Reaganist imagery and on an annotated map of Central and Latin America.

EAI is pleased to present 45 Years of Performance Video from EAI, a survey of four decades of artists' engagement with video and performance. This project is presented in conjunction with 100 Years, an exhibition on the history of performance art organized by P.S.1 Contemporary Art Center and Perfor...

"Cinema On Air" featured an evening of projected silent video works, selected from the EAI Collection, accompanied by two simultaneous sound performances heard through radio headphones. Audience members could tune in to either of the two live soundtracks, watch the works in silence, or sample all t...

Dia and Electronic Arts Intermix (EAI) presented a day-long screening of video works from EAI's collection. The videos screened featured works by artists who participated in collaborative programming presented by Dia and EAI at Dia:Chelsea from the mid-1990s until 2004. Artists included Marina Abram...

EAI participated in The NY Art Book Fair 2009, organized by Printed Matter at P.S.1 Contemporary Art Center. EAI's project space, installed in P.S.1's basement vault, presented FREE TRADE, a program of videos exploring economies of exchange in a globalized world: the circulation of art, ideas, infor...

As the keystone of EAI's 30th anniversary events, Museum of Modern Art presented First Decade: Video from the EAI Archives, a major retrospective that looked at the early days of video through EAI's historical collection. Featuring 60 works, the twelve-part program explored themes and issues ranging...

This daylong screening presented a selection of video works by Martha Rosler, one of contemporary art's most important and incisive cultural critics. In her videos, Rosler investigates how social realities and political ideologies dominate ordinary life. The works presented, ranged from her seminal ...

Electronic Arts Intermix (EAI) is pleased to participate in The 2008 New York Art Book Fair. EAI will present a special program of videos that considers issues of access, circulation and obsolescence. The program explores "out of print" art and media, in the form of...

During the PERFORMA07 performance biennial, EFA Gallery was transformed into a video lounge to host Electronic Arts Intermix's Viewing Room, a program that provides free public access to one of the foremost collections of video art in the world. Visitors to EFA Gallery were able to choose from a cur...

The Summer 2000 edition of this ongoing program of EAI works for the Dia rooftop Video Salon and Cafe featured works by artists including Klaus vom Bruch, Martha Rosler, Michael Smith, and Jud Yalkut.

EAI celebrated the art of short-form video and film with a summer screening of works that clock in at two minutes or less. Between Yoko Ono's fifteen second Eye Blink (1966) and Leslie Thornton's two minute Let Me Count the Ways: Minus 6 (2006), the forty-five works in this forty-f...

EAI presented a series of free public video programs as part of the exhibition, Terrorvision at Exit Art. Terrorvision was a multidisciplinary arts project that examined how definitions of terror are shaped by individual and collective visions, experiences, memories and histories. This exhibition ex...

Works by Eleanor Antin, Seoungho Cho, Dan Graham, Shigeko Kubota, Paul McCarthy, Bruce Nauman, Tony Oursler, Martha Rosler, and others.

Works by Michael Bell-Smith, Nancy Holt, General Idea, Dan Graham, Gordon Matta-Clark, Shana Moulton, Takeshi Murata, Seth Price, Martha Rosler, Carolee Schneemann, Michael Smith, Robert Smithson, Michael Snow, Ryan Trecartin, and Lawrence Weiner, among others.

Press release for daylong screening of works by Martha Rosler.