Galerie Nagel Draxler

Martha Rosler

Biography

MARTHA ROSLER

lebt und arbeitet / lives and works in New York

EINZELAUSSTELLUNGEN / SOLO EXHIBITIONS

2018
“The Jewish Museum”, New York. (upcoming)
Martha Rosler & Hito Steyerl, Kunstmuseum Basel, Basel. (upcoming)

2017
“Partisan Views and Public Opinion”, Zimmerli Art Museum at Rutgers University, New Jersey. (upcoming, 5. September 2017 – 7. Januar 2018)

2016
“Housing Is a Human Right / If You Lived Here Still”, The New Foundation Seattle, Seattle.
“If you can’t afford to live here, mo-o-ove!!”, Mitchell-Innes & Nash, New York.

2015
“Below the Surface”, Seattle Art Museum, Seattle.
“Greenpoint”, Galerie Nagel Draxler, Berlin.
“Woeful Weapons: Josep Renau and Martha Rosler reacting to War”, Institut Valencià d’Art Modern, Valencia.

2014
“Martha Rosler: The Bowery”, Lethaby Gallery, University of the Arts, London.
“Guide for the Perplexed: How to Succeed in the New Poland”, CCA Ujazdowski Castle, Warsaw.

2013
“Laboratorium”, w/ Vanja Vukovic, Eulengasse, Frankfurt.
“Martha Rosler: Two Systems”, Adam Art Gallery, Victoria University of Wellington, Wellington
“Cuba, January 1981″, Galleria Raffaella Cortese, Milano.
“Martha Rosler”, Art Museum, University of Kentucky, Lexington.

2012
“Meta-Monumental Garage Sale”, Museum of Modern Art, New York.
“Cuba”, Mitchell-Innes & Nash, New York.

2011
“In Public”, Galleria Raffaella Cortese, Milano.

2010
“Lesson for Today”, with Josh Neufeld, Side Street Projects, Santa Monica
“How Many Billboards? Art in Stead”, MAK Center for Art, Los Angeles.
“Martha Rosler: Point and Shoot”, Stedelijk ‘s-Hertogenbosch.
“Martha Rosler”, Galerie Christian Nagel, Antwerpen.
“As if”, GAM, Torino.
“If You Lived Here Still…”, Casco Office for Art, Design and Theory, Utrecht.

2009
“Power Games”, Galerie Christian Nagel, Köln.
“la casa, la calle, la cocina”, Centro José Guerrero, Granada.

2008
“Great Power”, Mitchell-Innes & Nash, New York.
“Passionate Signals”, Langhans Galerie, Prague.
“Martha Rosler Library”, Stills, Edinburgh.
“location, location, location”, Portikus, Frankfurt am Main.

2007
“Bringing the War Home”, Worcester Art Museum, MA.
“Virtual Minefeld”, Location One, New York.

2006
“The Martha Rosler Library”, Frankfurter Kunstverein, Frankfurt.
“Kriegsschauplätze”, Galerie Christian Nagel, Berlin.

2005
“Martha Rosler Library”, 53 Ludlow Street, New York.
“Martha Rosler: London Garage Sale”, Institute of Contemporary Arts, London.
“Martha Rosler – If not now, when?”, Hannover Sprengel Museum.

2004
“Do You Believe in Reality?”, Taipei Biennnial, Taiwan.
“Photomontages 1965 – 2004″, Gorney Bravin + Lee Gallery, New York.

2003
“Oleanna Space/Ship/Station”, Utopia Station at the 50th Venice Biennale,Venice.

2002
“The Bowery in two inadequate descriptive systems” w/ Richard Billingham, Vin & Sprithistoriska Museet, Stockholm.
“Three Transient Tenants at the Central Terminal” Moderna Museet, Stockholm.
Maison Européenne de la Photographie Paris.

2001
Live Performance Art Biennale in re: Live. Video-In Studios, Vancouver, B.C.

2000
“Martha Rosler, Positions in the Life World”, The New Museum, New York.
“Romances of the Meal,” Performance for the project “Indiscipline,” Brussels.
“Martha Rosler: Video”, Kiasma Museum Of Contemporary Art, Helsinki.
“Hors Champ: Agenda Caravanes” w/ Peter Boggers, Centre Georges Pompidou, Paris.

1999
“In the Place of the Public: Airport Series”, Suite of bus cards and subway lightboxes in the exhibition “Ruins in Reverse: Time and Progress in Contemporary Art,” organized by CEPA Gallery, Buffalo.
“OOPS! Or, Nobody Loves a Hegemon”, Galerie Christian Nagel, Köln.
“Martha Rosler – Positionen in der Lebenswelt”, Generali Foundation, Vienna;
“Martha Rosler – Positions in the Life World”, Institut d’Art Contemporain Villeurbanne, France.
“Martha Rosler – Positions in the Life World”, MACBA, Museu d’art contemporani, Barcelona.

1998
“Martha Rosler – Positions in the Life World”, The New Museum, New York.
“In the Place of the Public”, Frankfurt Airport, organized by the Museum für Moderne Kunst.
“Martha Rosler”, INIT: Kunsthalle, Berlin.

1997
“Transitions and Digressions”, Jay Gorney Modern Art, New York.
“Martha Rosler Reads Vogue: Wishing, Dreaming, Winning, Spending”, MNN, BCAT und Bronxnet Cable, New York.
“Rights of Passage”, Galerie Anne de Villepoix, Paris.

1996
“Martha Rosler Reads Vogue”, Paper Tiger Television, Bronxnet, New York.
“Everyday Objects: Videotapes by Martha Rosler”, Art Gallery of Ontario, Toronto.
“Born to Be Sold”, Free Speech TV, Boulder, Colorado.

1995
“Public Information: Desire, Disaster, Document”, San Francisco Museum of Modern Art.
Center for Contemporary Art – CCA, Glasgow.
“Born to Be Sold”; Free Speech TV, Boulder, Colorado.
“Martha Rosler: Il Bienal del Video”, Museo de Arte Contemporáneo, Santiago, Chile.

1994
“In the Place of the Public”, Contemporary Arts Center, Cincinnati.
“Videotapes of Martha Rosler”, Palais des Beaux Arts, Brussels.
“Korrektur in Stuttgart”, Künstlerhaus, Stuttgart.

1993
“In the Place of the Public”, Jay Gorney Modern Art, New York.
“Monográfico de Martha Rosler”, Institut Valencià de la Dona, Valencia.
“An Empty Space in Ottensen, Contaminated by History, Capital and Asbestos.”, Stadtfahrt/City Tour, Hamburg.

1992
“If You Lived Here: Homelessness and Housing in St. Louis”, Washington University Gallery of Art, St. Louis.
“Video Project”, Sandra Gering, New York.

1991
“Focus on Southern Africa: Nancy Buchanan, Mzwakhe Mbuli, Martha Rosler”, Otis/Parsons Art Institute Gallery.
“Born to Be Sold”, Manhattan Cable, New York.
“The Machine Wreckers: The Lady Luddities”, Third Frauen Film Festival, Dortmund.
“Bringing the War Home”, Simon Watson, New York.

1990
“Housing Is a Human Right”, Project on housing and homelessness in the city of Oxford and Oxfordshire. Public sites in the city and at the Museum of Modern Art, Oxford.
“Martha Rosler”, Galerie 7.0.7., Frankfurt am Main.

1989
“If you lived here…”, Dia Art Foundation, New York.
“Housing Is a Human Right”, Times Square Spectacolor animated signboard, New York.

1988
“Martha Rosler: Four Works”, Video Cable Series, organized by the Long Beach Museum of Art.
“Born to Be Sold” American Film Institute Video Festival, Los Angeles.

1987
“Focus: Martha Rosler”, Institute of Contemporary Art, Boston.
“Global Taste: A Meal in Three Courses”, Video Installation at Cornell Cinema, Ithaca.

1986
Los Angeles Center of Photographic Studies and EZTV, Los Angeles.
Camerawork, San Francisco.
Electronic Arts Gallery, Minneapolis.

1985
University/Community Video, Minneapolis.
“Fascination with the (Game of the)(Exploding)(Historical) Hollow Leg”, Sibell-Wolle Fine Arts Gallery, University of Colorado, Boulder.

1983
ICA, Institute of Contemporary Arts, London.
“Martha Rosler: Six Videotapes, 1975-1983″, The Office, New York.

1982
“Watchwords of the Eighties”, Documenta 7, Kassel; Oberlin College Art Museum, Ohio; Walter Phillips Gallery, Banff Centre School of Fine Art; Mercer Union Gallery, Toronto; Dance Theatre Workshop, New York.

1981
“Two Evenings of Video”, Powerhouse Gallery, Montréal.
“Watchwords of the Eighties”, curated by Lucy Lippard, Elisabeth Irwin High School, New York.
“Optimism/Pessimism: Constructing a Life”, Los Angeles – London Performance-Exchange, Franklin Furnace – Just Above Midtown/Downtown Gallery, New York.

1980
“Sketch for a Ritual of Mutual Atonement: For Alice”, Interaction Arts, New York.
Anna Leonowens Gallery, Nova Scotia College of Art & Design, Halifax.

1979
Orange Coast College Photography Gallery, Costa Mesa, California.
“Getting the News”, Alberta College of Art, Calgary.
“Women in Focus”, Vancouver.
A-Space, Toronto.
University Art Museum, University of California, Berkeley.
Institute of Contemporary Arts, London.

1978
“Against the Mythology of Everyday Life” and/or Gallery, Seattle.
“Martha Rosler”, Véhicule Art, Montréal.
“Martha Rosler”, Video Free America, San Francisco.
“Domination and the Everyday”, Los Angeles Institute of Contemporary Art (LAICA).
“Getting the News” In “What’s Cooking II”, University of California, San Diego.

1977
“Martha Rosler”, “New American Filmmakers” Series, Whitney Museum of American Art, New York.
“Foul Play in the Chicken House”, Long Beach Museum of Art, California.
“Forced Choice Arizona State University”, Tempe.
“What’s Your Name Little Girl?”, CLOSE Artists’ radio, KPFK Los Angeles.
“Traveling Garage Sale”, La Mamelle Gallery garage, San Francisco.

1976
Parachute Center for Cultural Affairs, Calgary.

1975
The Kitchen, w/ Alan Sekula, New York.
“The Evening News”, w/ Alan Sekula, Cable-TV screening, College Art Association, Hilton Hotel, Los Angeles.

1974
“A Gourmet Experience”, University of California, San Diego.

1973
“Monumental Garage Sale”, University of California, San Diego.
“Vital Statistics of a Citizen, Simply Obtained”, University of California, San Diego.

WANDERNDE EINZELAUSSTELLUNGEN / TRAVELING SOLO EXHIBITIONS

1972–2012 „Garage Sale“
UC San Diego
La Mamelle, San Francisco
Institut d’Art Contemporain, Villeurbanne, France
New Museum of Contemporary Art, New York
Moderna Museet, Stockholm
Sprengel Museum, Hannover
Project Arts Center, Dublin
Institute of Contemporary Arts, London
Art Parcours Project, Art Basel
Museum of Modern Art, New York

2009–2010 „If You Lived Here Still: An archive exhibition“
e-flux gallery, New York
Casco Office for Art Design and Theory, Utrecht
La Virreina Centre de la Imatge, Barcelona

2005–2009 „Martha Rosler Library“
e-flux gallery, New York
Frankfurter Kunstverein
NICC/MuHKA, Antwerp
United Nations Plaza school, Berlin
INHA, Paris
School of Fine Art, John Moores, Liverpool
Stills, Edinburgh
University of Massachusetts, Amherst

1981–1982 „Watchwords of the Eighties“ (performance)
Elisabeth Irwin High School
Oberlin College Art Museum, Ohio
Walter Phillips Gallery, Banff Centre School of Fine Art, Alberta
Mercer Union Gallery, Toronto
Dance Theatre Workshop, New York
Documenta 7, Kassel

1998–2000 „Martha Rosler: Positions in the Life World“ (retrospective)
Ikon Gallery, Birmingham
Institut d’Art Contemporain, Villeurbanne, France
Generali Foundation, Vienna
MACBA, Museu d’art contemporani, Barcelona
New Museum of Contemporary Art and International Center of Photography, New York

GRUPPENAUSSTELLUNGEN (AUSWAHL) / SELECTED GROUP EXHIBITIONS

2018
Kunstmuseum Basel, Basel. (upcoming, June 2018)

2017
“The American Dream. Americanischer Realism 1965-2017″, Drents Museum, Assen, Netherlands, and Kunsthalle Emden, Germany. (upcoming, Nov. 2017)
“Folklore. Eine Kontroverse mit Werken aus den Sammlungen”, Museum der Moderne, Salzburg, Austria.
“Age of Terror”, Imperial War Museum, London.
MAMCO – Musée d’art moderne et contemporain, Genève
“Women House”, Monnaie de Paris, Paris.
“Image of War”, Bonniers Konsthall, Stockholm.
“Citings, Signings”, Lennon Weinberg Inc, New York.
“Picture Industry”, Hessel Museum of Art at Bard College, Annandale-on-Hudson, NY.
“Torqued: Visual Notes for an Upside-Down World”, PPOW, New York.
“The war which is coming is not the first one. Great war 1914-2014″, Mart Museo di Arte Moderna e Contemporanea di Trento e Roverto, Roverto.

2016
“The Geo Politics of Monetized Airspace – Come Fly with Me, I Meet You by the Airside Gucci Concession at 4, Fox Fur Hat”, Midway Contemporary Art, Minneapolis.
“The Uses of Photography: Art, Politics, and the Reinvention of a Medium”, Museum of Contemporary Art, San Diego.
“Number Twelve: Hello”, Julia Stoschek Collection, Düsseldorf.
“The Eighties”, Museum van Hedendaagse Kunst, Antwerpen.
“Global Terror”, Nagel Draxler Kabinett, Berlin.

2015
“to expose, to show, to demonstrate, to inform, to offer: Artistic Practices around 1990″, Mumok, Museum moderner Kunst Stiftung Ludwig, Wien.
“Wohnungsfrage”, Haus der Kulturen der Welt, Berlin
“The EY Exhibition: The World Goes Pop”, Tate Modern, London.
“Regarding Spectatorship”, Kunstraum Bethanien, Berlin.
“FIRE AND FORGET. ON VIOLENCE”, KW Institute for Contemporary Art, Berlin.
“Re-Membering the Vietnam War”, William Benton Museum of Art – University of Connecticut.
“Who Owns My City”, Van Eyck, Maastricht.
“NENNEN, BENENNEN”, Künstlerhaus Palais Thurn und Taxis, Bregenz.
“do it (adelaide)”, University of South Australia / Anne & Gordon Samstag Museum of Art, Adelaide.
“Feministische Avantgarde der 1970er Jahre. Werke aus der Sammlung Verbund, Wien”, Hamburger Kunsthalle, Hamburg.
“Imaginary Audience Scale & Suck. A sceptical approach to exhibition making”, Artspace, Auckland.
“Not Yet. On the Reinvention of Documentary and the Critique of Modernism”, Museo Reina Sofia, Madrid.
“Agitprop!”, The Brooklyn Museum, Brooklyn.
“Archive Bound”, The Center for Book Arts, New York.
“World Goes Pop”, Tate Modern, London.
“Endless House: Intersections of Art and Architecture”, The Museum of Modern Art, New York.
“Transmission”, Palais des Beaux-Arts, Paris.
“America is Hard to See”, Whitney Museum of American Art, New York.
“Watch This! Revelations in Media Art”, Smithsonian American Art Museum, Washington.

2014
“Take it or Leave It”, Hammer Museum, Los Angeles.
“Martha Rosler, Borna Sammak, Michael St. John”, Andrea Rosen Gallery, New York.
“EL PASADO EN EL PRESENTE Y LO PROPIO EN LO AJENO”, LABoral, Gijon.
“The war which is coming is not the first one. Great war 1914-2014″, Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Roverto.
“Border Cultures Part II (Work and Labor), Art Gallery of Windsor, Windsor, Ontario, Curated by Srimoyee Mitra
“Art Turning Left. How Values Changed Making 1789-2013″, Tate Liverpool, United Kingdom, Curated by Francesco Manacorda and Eleanor Clayton.
The 2014 Dallas Biennial, Dallas.
“Looking Forward: Gifts of Contemporary Art from the Patricia A. Bell Collection”, Montclair Art Museum, Montclair.
“Footnotes”, CCS Bard Hessel Museum, New York.

2013
“State of Mind”, SITE Santa Fe; Bronx Museum, New York. Traveling exhibition curated by Constance Lewallen. Originated at Orange County Museum of Art, California (2011); traveled to The Smart Museum & The University of Chicago.
“Contemporary Magic”, Dalí Museum, St. Petersburg, Florida.
“Elles: Mulheres Artistas na coleção do Centro Pompidou”. Centro Cultural Banco do Brasil, Rio de Janeiro.
“Re.Act.Feminism #2–A Performing Archive”, curated by Bettina Knaup and Beatrice Ellen Stammer, Akademie der Künste, Berlin.
“Continental Drift: Conceptual Art in Canada: The 1960s and 70s.”, Badischer Kunstverein, Karlsruhe.
“The Past Is Present.”, Curated by Jens Hoffmann, Detroit Museum of Contemporary Art, Detroit.
“Minimal Resistance. Between Late Modernism and Globalisation: Artistic Practices during the 80’s and 90’s.”, Curated by Manuel Borja-Villel, Rosario Peiró & Beatriz Herráez,
Museo Nacional Centro de Arte Reina Sofía, Madrid.
“Amazing! Clear! Linguistic! An Adventure in Conceptual Art.”, Generali Foundation,Vienna.
Curated by Sabine Folie

2012
9th Shanhgai Biennial, Shanghai.
“The Shaping of New Visions. Photography, Film, Photobook”, curated by Roxana Marcoci, Museum of Modern Art, New York.
“Merciless: Wit, Satire, Irony, Sarcasm: Female Artists and the Cornical”, curated by Rita E. Täuber, Städtische Museen Heilbronn, Kunsthalle Vogelmann, Heilbronn.
“Utopia/Dystopia: Construction and Deconstruction in Photography and Collage”, curated by Yasufumi Nakamori, Houston Museum of Art, Houston.
“State of Mind: New California Art Circa 1970″, Berkeley Art Museum, Berkeley, traveled from Orange County Museum of Art.
“And Yet She Moves: Reviewing Feminist Cinema”, Walker Art Center, Minneapolis.
“Re.Act.Feminism #2 – A Performing Archive”, Centro Cultural Montehermoso
Kulturunea, Vitoria-Gasteiz; Museet for Samtidskunst, Roskilde.

2011
“The Grand Domestic Revolution”, Casco Office for Art, Design and Theory, Utrecht.
“Actors, Agents and Attendants II, SKOR, Amsterdam.
“re.act.feminism 2″, montehermoso, Vitoria-Gasteiz.
“Paradigm Shift Serralves Collection 60’s 70’s”, MUSAC, Leon.
“Melanchotopia”, Witte de With, Rotterdam.
“Based in Berlin 2011″, based in Berlin, Berlin.
“So machen wir es. Techniken und Ästhetik der Aneignung”, Kunsthaus Bregenz, Berlin.
“Off the Wall / Fora da Parede”, Museu Serralves – Museu de Arte Contemporânea, Porto.
“photographs: folios & installations”, BFAS / Blondeau Fine Art & Services, Genf.
“Serious Games”, curated by Harun Farocki and Antje Ehmann, Institut Matildenhöhe, Darmstadt.
“Hyper Real – Kunst und Amerika um 1970″, Ludwig Forum für internationale Kunst, Aachen.
“That’s the way we do it at Kunsthaus Bregenz”, Kunsthaus Bregenz, Bregenz.
“The Unbearable Lightness of Being”, Yvon Lambert, Paris.
“Cover Girl”, Galérie des Galéries, Paris.
“Part 4: The Pilgrim, the Tourist, the Flaneur (and the Worker)”, Van Abbemuseum, Eindhoven.
“Phantasie an die Macht – Politik im Künstlerplakat”, Museum für Kunst und Gewerbe, Hamburg.
“Singapore Biennale 2011″, Singapore Biennale.
“Starters – Performative Positionen”, Lothringer13, München.

2010
“Person is Political. Hannah Höch’s art translated in the framework of the third wave of feminism in the beginning of the XXI century”, Tallinn Art Hall.
“Bilder in Bewegung. Künstler & Video / Film”, Museum Ludwig, Köln.
“Krieg/Individuum”, Ausstellungshalle zeitgenössischer Kunst Münster, Münster.
“Donna: Feminist Avant-garde of the 1970s from Sammlung Verbund, Vienna”, Galleria nazionale d’arte moderna, Roma.
“Modernologies – Contemporary artists researching modernity and modernism”, Museum of Modern Art, Warsaw.
“Politics of Art”, National Museum of Contemporary Art, Athens.
“Haunted – Contemporary Photography/Video/Performance”, Guggenheim Museum Bilbao, Bilbao.
“Are you ready for TV?”, MACBA, Barcelona.
“Un-home-ly”, Oakville Galleries, Oakville.
“Seductive Subversion: Women Pop Artists, 1958 – 1968″, Brooklyn Museum, Brooklyn.
“Workers Leaving the Workplace”, Muzeum Sztuki in Lodz.
“Changing Channels”, MUMOK, Wien.
“Mean Streets – Malasz”, IVAM, Valencia.
“How many Billboards?”, MAK Center, Los Angeles.
“Solace”, Austrian Cultural Forum, New York.
“Defending our Values (Lightbox / The Module)”, Kunstraum Innsbruck, Innsbruck.

2009
“1969”, P.S.1 Contemporary Art Center, Long Island.
“Lecture Performances”, Kölnischer Kunstverein, Köln.
“Democracy in America”, Creative Time, New York.
“el dorado. Über das Versprechen der Menschenrechte”, Kunsthalle Nürnberg, Nürnberg.
“EMAF 2009″, European Media Art Festival, Osnabrück.
“El pasado en el presente y lo propio en lo ajeno”, Laboral Centro de Arte, Gijon.
“Street Art, Street Life”, Bronx Museum of the Arts, New York.
“1968. Die Große Unschuld”, Kunsthalle Bielefeld, Bielefeld.
“The Human Stain”, CGAC Santiago de Compostela.

2008
“re.act.feminism”, Akademie der Kpnste, Berlin.
“versus inversus”, Galleria Raffaela Cortes, Mailand.
“Universial Archive. The Condition of the Document and the Modern Photographic Utopia”, Museu d´Art Contemporani de Barcelona, Barcelona.
“Interieur/Exterieur: Wohnen in der Kunst”, Kunstmuseum Wolfsburg, Wolfsburg.
“Bildpolitiken”, Salzburger Kunstverein, Salzburg.

2007
“Body politicx”, Witte de With, Rotterdam.
Documenta 12, Kassel.
“Erblätterte Identitäten. Mode – Kunst – Zeitschriften”, Galerie der Hochschule für Grafik und Buchkunst, Leipzig.
“Kiss Kiss Bang Bang: 45 Years of Art & Feminism”, Museo de Bellas Artes, Bilbao.
“Sculpture Projects Münster”, Münster 2007.
“Anachronism”, Argos Center for Art & Media, Brüssel.
“WACK! Art and Feminist Revolution”, Museum of Contemporary Art, Los Angeles.
“The Evil. Teil 1: Presse & Politik, Teil 2: Pop & Politik “, kuratiert von Raimar Stange, Galerie Gebr. Lehmann, Dresden.
“For A Special Place. Documents And Works From The Generali Foundation Collection”, Austrian Cultural Forum New York, New York.
“United Nations Plaza”, Temporäre Kunstakademie, Berlin (gegr.von / founded by Anton Vidokle).
“Mapping the City”, Stedelijk Museum, Amsterdam.
“Feedback: The Video Data Bank, Video Art, and Artist Interviews”, Museum of Modern Art New York, New York.

2006-07
“Piktogramme – Die Einsamkeit der Zeichen”, Kunstmuseum Stuttgart, Stuttgart.

2006
“Media Burn”, Tate Modern, L2 Gallery, London.
“Saigon Open City: Liberation”, Ho Chi Minh City, Vietnam.
“Academy. Learning from Art”, Museum van Hedendaagse Kunst, Antwerpen.
“Terminals, Hotels & Wunderwelten”, Stadtmuseum Graz, Graz.
“Martha Rosler´s Library”, Frankfurter Kunstverein, Frankfurt.
“FALLOUT. Cold War Culture”, Mitchell-Innes & Nash, New York.
“Optik Schröder. Werke aus der Sammlung Schröder”, Kunstverein Braunschweig, Braunschweig.
“The Early Show: Video from 1969-1979″ The Berta and Karl Leubsdorf Art Gallery at Hunter College, New York.

2005
“girls on film”, Zwirner & Wirth, New York.

2004
“Election”, American Fine Arts, Co., Colin de Land Fine Art, New York.
“WAR! PROTEST IN AMERICA 1965-2004 and MEMORIALS OF WAR”, Whitney Museum of American Art, New York.
“Recherche – entdeckt! Bildarchive der Unsichtbarkeiten. 6. Internationale Foto-Triennale Esslingen 2004″, Villa Merkel und Bahnwärterhaus, Esslingen.
“American Idyll”, Greene Naftali Gallery, New York.
“Die Regierung”, mit Harun Farocki, Jean-Luc Godard/Jean-Pierre Gorin, Martha Rosler, Allan Sekula, Kunstraum der Universität Lüneburg.

2003
“The Next Documenta Should be Curated By An Artist”, Curated by Jens Hoffmann, www.e-flux.com.
La Biennale di Venezia (Arsenale), Venedig 2003.
“Attack! Kunst und Krieg in den Zeiten der Medien”, Kunsthalle Wien.
“Rapture: Art’s Seduction by Fashion since 1970,” curated by Chris Townsend. Barbican, London (sched.).
“A Short History of Performance – Part II”, Whitechapel Gallery, London.

2002
“Spacing the Line: Performativity and Passage Zones”, Academy of Visual Arts, Leipzig.
“Photo Exhibition”, Gorney Bravin + Lee, New York.
“Shopping”, SCHIRN Kunsthalle Frankfurt, Frankfurt, Germany (sched.), TATE Liverpool, England (sched.).
“/IN/welcher/Haltung/arbeiten/Sie/bevorzugt?, Ausstellung zum Verhältnis von Kunst und der Konstruktion von Arbeit”, kuratiert von Andreas Siekmann und / /D/O/C/K-Projektbereich, Galerie der Hochschule für Grafik und Buchkunst, Leipzig.
Video Primer. Art Gallery of Ontario, Toronto. In collaboration with V-Tape, Toronto.
“Dritte Sektor”, Galerie für Zeitgenössische Kunst, Leipzig.
“Screening”, Consejeria de las Artes, Madrid.
“Outer and Inner Space: A Video Exhibition in Three Parts”, Virginia Museum of Fine Arts, Virginia.
“Continued Reflections: Walker Art Center Celebrates Black History Month”, Walker Art Center, Minneapolis.
“Art and the Construction of Work”, Academy of Visual Arts, Leipzig.
“The First Decade: Video From the EAI Archives”, Museum of Modern Art, New York.
“Non-Places”, Frankfurter Kunstverein, Frankfurt am Main.
“Parallels and Intersections: Art/Women/ California 1950-2000″, San Jose Museum of Art (CA).
“Do It”, curated by Hans Ulrich Obrist,www.e-flux.com.
Festival “Kobieta Z Kameru”, Organized by Cinenova, Warsaw.
“Through Women’s Eyes – Video Art by Women Artists.” Museum of Contemporary Art, Taipei, Taiwan.
“Visions from America: Photographs from the Whitney Museum of American Art, 1940-2001″, Whitney Museum of American Art, New York.
“Personal and Political: The Women’s Art Movement 1969-75″, Guild Hall, East Hampton, New York.

2001
“Spitting Image: Myth and Creation of Feminine Identity”, University of Connecticut at Stamford.
“Double Life: Identity and Transformation in Contemporary Art”, Generali Foundation, Vienna.
“New York ca. 1975″, David Zwirner, New York.
“The Communications Department”, Anthony Wilkinson Gallery, London.
“L’Esprit de Famille”, Villa du Parc, Cetre d’Art Contemporain, Annemasse, France.
“Goteborg Film Festival”, Goteborg, Sweden.
“Transposition”, London film festival, London.
“Shopping”, Generali Foundation, Vienna.
“Playing Amongst the Ruins”, Royal College of Art, London.
“The Path of Resistance. MoMA Meets Moderna 1960 – 2000″, Moderna Museet, Stockholm, in collaboration with the Museum of Modern Art, New York.
“Beyond Origin”, Hellenic American Union, Athens.
“Structure/Statement”, in the series “Contingent Cinema”, University of California, Los Angeles.
“Communications Department”, Anthony Wilkinson Gallery, London.
“Many Moons”, Hammond Museum, North Salem, New York.
Neue Galerie für bildende Kunst, Berlin.
“Works from the Collection”, Generali Foundation, Vienna.
“Jheronimus Bosch”, Museum Boijmans Van Beuningen, Rotterdam.
“Tele “Works from the Permanent Collection”, International Center of Photography, New York.
“Sculpture Contemporaine: Oeuvres de la Collection Frac Rhône-Alpes de l’Institut d‘art contemporain”, Lyon.

2000
“The Wounded Diva: Hysteria, Body, Technology in 20th Century Art”, Kunstverein München, Städtische Galerie im Lenbachhaus und Kunstbau, München; Siemens Kulturprogramm, München; Galerie im Taxispalais, Innsbruck; Staatliche Kunsthalle Baden-Baden.
“Quotidiana.” Castello Di Rivoli, Museo d’Arte Contemporanea, Rivoli/Torino.
“The Cool World: Film & Video in America 1950-2000. Part II: 1970-2000″, Whitney Museum of American Art, New York.
“The Body—Between Construction and Condition”, International Women’s University Open Space Program, Hanover.
“The Psychic Life of Inner Space”, Großer Aktzeichensaal, Vienna
“Carnival in the Eye of the Storm: War/Art/New Technologies”, Curated by Trebor Scholz, Pacific Northwest College of Art, Portland.
“Odd Bodies”, National Gallery of Canada/Musée des beaux-arts du Canada.
“Insites: Interior Spaces in Contemporary Art”, Whitney Museum of American Art at Champion. Stamford, Conn.
“real”, 4th Werkleitz Biennale, in the section “gender –Zur Technologie des Geschlechts”, Werkleitz.
“Cooked! (Politics, Performance and Kitchen Sink Video)”, Curated by Sue Ditta, Video Inn, Vancouver.
“The Path of Resistance.” Museum of Modern Art, New York.
“Hyper Mental, Rampant Reality 1950—2000″ Kunsthaus Zurich, Zurich; Hamburger Kunsthalle, Hamburg.
“Bruit de Fond”, Centre national de photographie, Paris.
“Highlights from the Permanent Collection: Pollock to Today”, Whitney Museum of American Art, New York.
“Hausschau, das Haus in der Kunst”, Deichtorhallen, Hamburg.
“Gouvenementalität”, Alte Kestner Gesellschaft, Hanover.

1999
“Siting Conflict”, Presentation House Gallery, Vancouver.
“Dream City”, Kunstraum München, Munich.
“Poésie et principes.” Musée d’Art Moderne et Contemporain (MAMCO), Geneva.
“Dream City.” Kunstraum München, Munich.
“m o b i l S U P E R S U P E R l a n d. Über Mobilitat und ihre gelegentlichen Behinderungen”, Forum Stadtpark, Graz.
“Siting Conflict”, Presentation House Gallery, Vancouver.
“Laboratorium”, Provinciaal Museum voor Fotografie, Antwerp.
“Private Eye”, Haus am Waldsee, Berlin.
“Splice This!” Second Annual Super-8 Film Festival, Toronto.
“The American Century, Part II: 1950-2000″, Whitney Museum of American Art, New York.
“Artissima 99″, Torino, Italy.
“Modern Starts: Things”, Museum of Modern Art, New York.
“Public Domain”, Fototriennale Graz, Austria.

1998
“From the Body: Allegories of the Feminine”, Museo de Bellas Artes de Caracas, Venezuela.
“Idea de lugar: Videos sobre Latinoamérica”, Museo Nacional Centro de Arte Reina Sofia, Madrid.
“In Site 98: Mysterious Voyages: Exploring Photography”, Contemproary Museum, Baltimore.
“Fast Forward: Trade Marks”, Hamburg Kunstverein, Hamburg.

1997
“Airport”, Photographers’ Gallery, London; Nederlands Foto Instituut, Rotterdam.
“Surveying the First Decade: Video Art and Alternative Media in the United States”, San Francisco Museum of Modern Art; American Museum of Moving Image, New York.
“Artists’ Videos from the Late 60’s to the Early 70’s”, Kunstverein in Hamburg.
“Multiple Identity, Amerikanische Kunst, 1975–1995, aus dem Whitney Museum”, Kunstmuseum Bonn.
“Luces, Cámara, Acciòn (…) Corten! (Videoacciòn: El Cuerpo y Sus Fronteras)”, IVAM Centro Julio González, Valencia.
“Views from Abroad III”, Whitney Museum of American Art, New York.

1996
“Inside the Visible”, Institute of Contemporary Art, Boston; National Museum of Women, Washington; Whitechapel Gallery, London; Art Gallery of Western Australia, Perth.
“Art at the End of the Twentieth Century. Selection of the Whitney Museum of American Art”, National Gallery and Alexander Soutzos Museum, Athens.
“Incandescent”, Louisiana Museum, Humlebaek.
“System Aesthetics: Works from the Permanent Collection”, Museum of Modern Art, San Francisco.

1995
“25 Years of Video Art”, Museum of Modern Art, New York.
“Africus Biennale”, Johannesburg, South Africa.
“Division of Labor: Women’s Work in Contemporary Art, 1970-95″, Bronx Museum of the Arts, New York; Museum of Contemporary Art, Los Angeles.
“Public Information: Desire, Disaster, Document”, Museum of Modern Art, San Francisco.
“Lesezimmer II. Kustpresse Österreich”, Grazer Kunstverein.
“The Art of Memory, The Loss of History”, The New Museum, New York.

1984
“New American Video Art: A Historical Survey, 1967-1980″, Whitney Museum of American Art, New York.
“Content: A Contemporary Focus”, 1974-1984, Hirshhorn Museum, Washington, D.C.
“Difference: On Representation and Sexuality”, The New Museum, New York; Renaissance Center, Univ. of Chicago; Institute of Contemporary Art, London.

1983
“Videotapes from the Whitney Biennial”, 17 North American and European venues”, Institute of Contemporary Art, Boston.
“Whitney Biennial”, Whitney Museum of American Art, New York.
“Festival Andere Avant-Garde”, Brucknerhaus, Linz, Austria.
“Video Art: A History, Part II”. Museum of Modern Art, New York.
“Ars ‘83″. Helsinki Atheneum, Finland.

1982
“Documenta 7″, Kassel.
“Seventy-Fourth American Exhibition”, Art Institute of Chicago, Chicago.

1981
“Books by Artists”, Winnipeg; Ottawa; Mus. Contemporary Art, Montréal; Vancouver, etc.
“Libres D’Artista/Artist’s Books”, Centre de Documentaçión D’Art Actual (CDAA), Barcelona.
“Art and Society: Bookworks by Women”, Beyond Baroque Literary/Arts Center, Venice.
“Erweiterte Fotografie (Extended Photography)”, Vienna Secession, Vienna.

1980
“A Decade of Women’s Performance Art”, Contemporary Art Center, New Orleans.
“Public Disclosure: Secrets from the Street”, Museum of Modern Art, San Francisco.
“National Video Festival”, American film Institute, Kennedy Center, Washington D.C..
“Issue” curated by Lucy Lippard and Sandy Nairne, Institute of Contemporary Arts, London.

1979
“Whitney Biennial”, Whitney Museum of American Art, New York.
“Southern California Photography Invitational ‘79″, Univ. Southern California, Los Angeles.

1978
“Out of the House”, Whitney Museum Downtown Gallery, New York.

PREISE / PRIZES
2017
Lichtwark-Preis, Stadt Hamburg.

2016
100k Prize, The New Foundation Seattle.

2012
Doctorate honoris causa, Nova Scotia College of Art and Design.
Asher B. Durand Award, Brooklyn Museum.

2011
DAAD Artists-in-Berlin Residency.

2010
Guggenheim Museum Lifetime Achievement Award.
Third International Hermes lecture, s’Hertogenbosch.

2009
Civitella Ranieri Residency, Umbria.
Featured Speaker, Women’s Caucus, Society for Photographic Education.

2008
United States Artists Nimoy Fellow.

2007
Anonymous Was a Woman Foundation Grant.

2006
Oskar-Kokoschka-Preis.

Bibliography

BÜCHER / BOOKS

„Culture Class“, Berlin, 2013.

„Martha Rosler’s Virtual Minefield“, New York, 2012.

„La casa, la calle, la cocina“ Granada, 2009.

„Martha Rosler Library“, Liverpool, 2008.

„Martha Rosler Library“, Paris, 2008.

„V ni, kolem ni a dalsi postrehy (o dokumentarni fotografii)“, Prague, 2008.

„Service: A Trilogy on Colonization“, New York, 2008.

„La función politica de la imagen“, Barcelona, 2007.

„Imágenes públicas: La función politica de la imagen", Madrid, 2007.

„Paul Chan and Martha Rosler“, New York, 2006.

„Inside and Outside the Frame“, Tel Aviv, 2006.

„Sur/Sous le Pavé“, Rennes, 2006.

„Passionate Signals“, Ostfildern, 2005.

„Decoys and Disruptions: Selected Writings“, Cambridge, Massachusetts, 2004.

“Second Nature: For an Art Against the Mythology of Everyday Life (working title). Cambridge, Mass.: MIT Press, 2003 (in press).

“Martha Rosler: Posiciones en el mundo real”, Museu d’Art Contemporani de Barcelona (MACBA) and Actar, 1999.

„Positionen in der Lebenswelt“, Wien: Generali Foundation und Köln: Walter König, 1999.

„Positions in the Life World“, Cambridge, Massachusetts und London: The MIT Press, 1999.

„In the Place of the Public: Observations of a Frequent Flyer/ An der Stelle der Öffentlichkeit: Beobachtungen einer Vielfliegerin“, Osterfildern: Cantz, 1998.

„Rights of Passage“, Kanaal Art Foundation, Kortrijk, New York, 1997.

„if You Lived Here…The City in Art, Theory and Social Activism.“, Brian Wallis (Hg.), Seattle: Bay Press, 1991.

„3 Works“, Halifax, N.S.: The Press of Nova Scotia College of Art & Design, 1981 (2. Aufl. 2006).

„Service: A Trilogy on Colonization“, New York: Printed Matter, 1978 (2. Aufl. 2008).

BIBLIOGRAPHIE (AUSWAHL) / SELECTED REVIEWS AND INTERVIEWS

2016
Rachel Churner: „Martha Rosler“, in: Artforum, October 2016.
„‚Are we human?’ questions Design Biennal“, in: Hurriyet Daily News, December 10, 2016.
Ryan Staedman: „New 100K Grant to Artists Started, Martha Rosler First Winner“, in: Observer, November 20, 2016.
„In 1970s San Diego, These Groundbreaking Artists Pushed the Boundaries of Photography“, in: Link TV, October 12, 2016.
Fisun Güner: „Feminist art of the 1970s: knives, nudity and terrified men“, in: The Guardian, October 3, 2016.
Blake Gopnik: „Martha Rosler Described Women’s Issues of ’75; They’re Still With Us“, in: artnet, Juli 1, 2016.
Cornelia Lütkemeier: „4 Fragen an Martha Rosler: Die US -Künstlerin bringt den Krieg auf die Art Basel“ (interview), in: Monopol, June 13, 2016.
Kristina von Klot: „Denken Sie groß! Art Basel Unlimited“, in: Monopol, June 13, 2016.
„Brüche in schönen Fassaden. Der Kunst Raum Riehen zeigt Arbeiten von Martha Rosler und Róza El-Hassan“, in: Badische Zeitung, June 2, 2016.
Nicholas Forrest: „Art Basel Names a Recors 88 Projects for 2016 Unlimited Sector“, in: Boulin Art Info, April 28, 2016.
Saisha Grayson: „Agitpop!: A conversation with Martha Rosler, Nancy Buchanan, and
Andrea Bowers“, in: e-flux Journal #71, March 2016.
Erin Langer: „Confronting Homelessness Close to Home, with Help from Martha Rosler“, in: Hyperallergic, February 29, 2016.
Jen Graves: „Artist Martha Rosler in Seattle: Now We’re REALLY Angry?“ (interview), in: The Stranger, January 26, 2016.
Tricia Romano: „The year of Martha Rosler: Artist examines homelessness and disparity, wins $100K from Seattle foundation“, in: The Seattle Times, January 22, 2016.
„Martha Rosler at Nagel Draxler“, in: Contemporary Art Daily, January 19, 2016.

2015
„Der Galerierundgang: Martha Rosler“, in: art - Das Kunstmagazin, 2015.
„Neue Hauptstädte braucht Europa“, in: Vorarlberger Nachrichten, December 12, 2015.
Ana Teixeira Pinto: „Weekly Review: Martha Rosler – Galerie Nagel Draxler, Berlin“, in: Frieze d/e Blog, November 18, 2015.
Holland Cotter: „Corruption: Everybody Knows…, Think Pieces From E-flux“, in:
The New York Times, December 3, 2015.

2014
Zofia Maria Cielątkowska and Martha Rosler „ Art is heart and soul of any society.“ (interview), in: obieg.pl, March 19, 2014.
Lisa Zeitz: „Bett- und Kunstbezüge“, in: Weltkunst, May 2014, p. 51–53.

2013
Krzysztof Pijarski and Martha Rosler: „Why Martha Rosler wants to make me buy“ (interview), in: „View. Theories and Practices of Visual Culture 2“, Instytut Kultury Polskiej, 2013.
„Notes from the Field: Materiality. Martha Rosler“, in: Art Bulletin, March 2013, Volume XCV Number 1.

2012
Hannes Stein: „Hey Lord, willst du mir einen Mercedes Benz kaufen?“, in: WELT, November 23, 2012.
Judith Thurman: „Modern Junk“, in: The New Yorker, November 21, 2012.
Randy Kennedy: „No Picassos, but Plenty of Off-the-Wall Bargains. Martha Rosler’s ‚Meta-Monumental Garage Sale‘ at MoMA“, in: The New York Times, November 16, 2012.
Anna Altmann: „MoMA Garage Sale“, in: The New Yorker, November 15, 2012.
Sebastian Frenzel and Martha Rosler (interview), in: Monopol, November 2012.
Jordan Mejias: „Aus dem Flohmarkt im MoMA“, in: Frankfurter Allgemeine Zeitung, November 23, 2012.
Daniel Kunitz and Martha Rosler (interview), in: Modern Painters, April 2012.
Jessica Loudis: „Martha Rosler“, in: Artforum, May 2012.
Steve Edwards: „MArtha Rosler: the Bowery in two inadequate descriptive systems. One Work Series“, in: Afterall, 2012

2011
Michael Moorstedt: „Auf Bajonett-Distanz“, in: Süddeutsche Zeitung, June 21, 2011.
Karin Schulze: „Ich hab’ Krieg im Kopf“, in: Spiegel online, March 26, 2011
"Cool Factor“, in: Artforum, March 20, 2011.

2009
"El Dorado. Über das Versprechen der Menschenrechte", Kunsthalle Nürnberg im KunstKulturQuartier (Hg.), Kerber Verlag, Bielefeld 2009.
„Martha Rosler: Flower Fields“ (press release), in: Monopol, September 2009.
„Martha Rosler stolpert in Frankfurt durch die Stadt“, in: Monopol, July 14, 2009.

2008
Jesùs Carillo: Sobre´la indignidad de hablar por los otros", in: Art&Co, Número 2, Primavera 2008, p. 10-15, 108-110.
Carol Kino: „Glossy Idealism on the Front Lines“, in: The New York Times, September 7, 2008.
Iwona Blazwick: „Interview With Martha Rosler“, in: Art Monthly, March 2008.

2007
Greg Cook: „Of War and Remembrance: Martha Rosler's montages conjure Vietnam and Iraq“, in: The Boston Globe, November 11, 2007.
Katherine Wolkoff: „Feminine Mystique“, in: W Magazine, November 2007.
Anselm Wagner: "skulptur projekte münster: The Critics Way, Martha Rosler - Erschütterung der Fragmente", in: spike, 13, Herbst 2007, S. 43.
Alexander Alberro: "Am Ende des Pfades. Über Skulptur Projekte Münster 07", in: Texte zur Kunst, September 2007, 17. Jg, Heft 67, S. 258-266.
Door Frédérique Bergholtz: "WACK! Art and the Feminist Revolution", Metropolis M 2007 No.4. S.84-86.

Ingeborg Wiensowski: "Rette uns, wer kann!", in: Kulturspiegel, Heft 6, June 2007, p.8.
Tim Ackermann; Gesine Borcherdt; Silke Hohmann: „Die Guten, die Bösen und der etwas Banale - Monopol stellt 13 Documenta-Künstler vor, Martha Rosler“, in: Monopol kompakt Documenta, Nr.1, Summer 2007, p.20.
Kathrin Luz: "Die Einsamkeit der Zeichen", in: Kunstforum international, Bd. 184, March- April 2007, p. 348-351.
Wouter Davidts: "The Studio. Hugh Lane Gallery", in: Artforum International, April 2007, XLV, No. 8, p. 291.

2006
Zybok, Oliver: "Zur Aktualität des Idyllischen", In: Kunstforum Bd.179, Februar-April,p.38-72.

Lisa E. Bloom: "Jewish Identities in American Feminist Art, Chapter 4: The California work of US artist Martha Rosler", in: New York - Oxon, 2006, p. 83-104.

2005
Ursula Maria Probst: "Wie Gesellschaft und Politik ins Bild kommen. Sozialpolitik im Visier der Kunst. Generali Foundation, 16.9.-18.12.2005", in: Kunstforum, Bd. 178,
November 2005 - January 2006, p. 363-365.
Frances Richard: "Martha Rosler", in: Artforum International, Februar 2005, p. 173
Siegfried Barth: "Die Kampfzonen des Alltags“, in: Neue Presse, 29. Januar 2005, p. 28

2004
Holland Cotter: "Election", in: The New York Times, Freitag, 29. Oktober 2004.

2003
Gerald Echterhoff: "Haupt- und Nebenwege", 28. Juni bis 22. August 2003, Galerie Christian Nagel, Köln", in: Springerin IX, Heft 3, Herbst 2003, p. 67-68.
Kunstforum-Gespräche: "Identität der Nichtidentität. Sven Drühl und Oliver Zybok im Gespräch mit Harald Falckenberg.", in: Kunstforum International Bd. 167, November 2003, p. 275-276.

2002
Michael Rush, “No Longer an Orphan, Video Art Gives Itself a Party,” New York Times, Sunday, February 19, 2002.
Ed Halter, “Medium Cool,” The Village Voice, February 26, 2002.
Paul Wood, Conceptual Art. London: Tate Museum, 2002, pp. 71-72.
Venera Kumi, “non-places,” frieze, #67, May 2002, pp. 102-103.
Yates Mckee, “On Counterglobal Aesthetics, Empire/State: Artists Engaging Globalization", (catalogue), May-July, 2002 p. 19 ff.
Tim Griffin, “As the World Turns“, in: Time Out New York, June 13-20, 2002, p. 55.
Robert Mahoney, ”Justine Kurland, Catherine Opie, Martha Rosler, and James Welling at Gorney Bravin + Lee”, in: Time Out New York, June 27-July 4, 2002, p. 56.
Deborah Frizzell, “Bawdy Burlesque, Raucous Ribaldry,” in: NY Arts, April 2002.

2001
Jayne Wark, “Conceptual Art and Feminism: Martha Rosler, Adrian Piper, Eleanor Antin , and Martha Wilson.”, in: Woman’s Art Journal, Vol. 22, No. 1, Spring/Summer 2001, pp. 44-50.
Ilana Stanger, “Pro Speak: Martha Rosler“ (interview), in: TheArtBiz.com (online: http://www.TheArtBiz.com/prospeak.asp), June-July 2001.
Olga Kopenkina, “On the Public Sphere,” in: Moscow Art Journal, March 2001.
Holger Liebs, in: „Women Artists in the 20th and 21st Century“, Uta Grosenick, ed. Cologne, New York, Madrid, Paris, Tokyo: Taschen, 2001.
Jens Hoffmann: “The Familiar Is Not Necessarily the Known,” in: NU : The Nordic Art Review (Stockholm), Vol. III, No. 2/01, pp. 58-63.
Martina Pachmanová: “Umeni bourat myty ve svete kolem nás i v nás.”, in: Aspekt (Bratislava), 12/2000-1/2001, pp 130-136.

2000
Josephine Mills, “War Zones,” Parachute, No. 97, Jan.-Feb.-Mar 2000.
Marja-Terttu Kivirinta, “Valokuvaaja ei saa seistä aiheensa edessaä: Martha Rosler on yhteisötaiteen pioneeri,” in: Helsingin Sanomat (Helsinki), Jan. 16, 2000.
Cathy Lang Ho, “Martha Rosler: Positions in the Life World”, in: Architecture, February 2000.
Rentsje de Gruyter, “Vliegen,” in: NRC Handelsblad, March 3, 2000.
Helena Soderholm, “Everywhere, and nowhere at all,” in “Taide tilanteina” (Art as Situations), Tämäkö Taidetta? Helsinki: WSOY, 2000.
Helen Molesworth, "House Work and Art Work, in: October No. 92 (Spring 2000), pp 71-97.
Michael Rush, “A Pure Artist Is Embraced by the Art World,” in: New York Times, July 9, 2000
Anne Wehr, ”Class in Session,” in: Time Out New York, July 13, 2000.
Logan Hill, “Retrospective Survivor,” in: New York, July 24, 2000, p. 71.
Ariella Budick, “Playfully Fighting Her Own Kitchen Battles,” in: Newsday, July 21, 2000.
Blake Stimson, ”Martha Rosler: Positions in the Life World,” in:CAA Reviews online (http://www.caareviews.org/reviews/ zegher.html) (review of the book and exhibitions).

Interview, Croatian Television, Dubrovnik, Sep. 24, 2000.
Tonica Chagas, “Estética e política unem-se na arte de Martha Rosler”, in: Estado (Sao Paolo), Oct. 6, 2000. Estadao ou Jornal da Tarde, caderno 2, Online at http://www.estado, estadao.com.br/editorias/2000/ 10/06/ cad097.html.
“Martha Rosler,” in Anthony Vidler, in:Warped Space: Art, Architecture and Anxiety in Modern Culture. Cambridge, Mass.: MIT Press, 2000.
Trebor Scholz, “Carnival in the Eye of the Storm,” in: Art Journal, vol. 59, No. 4 (Winter 2000).

Martina Pachmanová, “Umeni bourat myty ve svete kolem nás i v nás,” in: Aspekt (Bratislava), 12/2000-1/2001, pp 130-136.
Alison Rowley, “Exhibiting Martha Rosler? A Feminist Response to Martha Rosler: Positions in the Life World.” in: Reviewing 1970s and 1980s Feminist Art Practices in the 1990s: Three Major Exhibitions on Judy Chicago, Eleanor Antin, and Martha Rosler; Lisa Bloom, mod. College Art Association 89th annual conference, Chicago.
Catherine Caesar, Martha Rosler’s Critical Position within Feminist Conceptual Practices,” ibid.

Stephen Wright, "Martha Rosler: Packaging the Public Sphere," in: Parachute (Montreal), No. 97, Jan.-Feb.-Mar 2000.
Mercedes Vicente, “La estrategia global,” in: Lapiz Revista internacional de arte (Madrid) February 2000.
Courier Lifestyles: “An Artistic Garage Sale,” July 24, 2000.
Park Slope Courier: “Don’t Miss this Garage Sale,” July 31, 2000.
AbsoluteArts.com: “In Depth Arts News: Martha Rosler: Positions in the Life World, August 4, 2000.

OCS News: “Martha Rosler: Positions in the Life World,” Aug. 4, 2000.
Holland Cotter, “An Iconoclast to Whom the Personal Is Always Political,” in: New York Times, August 4, 2000.
“The New Museum,” in: New Yorker, August 7, 2000, p. 13, 14.
Daniel Belasco, “Love for Sale,” in: Jewish Week, Aug 8, 2000.
Erika Biddle, “Political Cutup,” in: Artnet magazine, August 2000 (online) Http://www.artnet.com/Magazine/reviews/biddle/biddle8-7-00.asp .

Holland Cotter, “Art Guide: Martha Rosler: Positions in the Life World,” in: New York Times, August 11, 2000, and subsequently until show’s close, in: Sunday Arts section.
Martha Schwendener, Time Out New York, Aug. 17-24, 2000, pp. 62-63, and subsequent letter, Sep. 7-14, 2000.
Kim Levin, “Voice Choices: Martha Rosler,” in: Village Voice, August 22, 2000.
C. Carr, “Rethinking Everyday Life,” in: Village Voice, August 22, 2000.
Mauro Calmandrei, “Una nuova centralitá femminile,” in: Il Sole 24 Ore, Aug. 24, 2000
Barbara Pollack, untitled review of Martha Rosler, Positions in the Life World, and Barbara Kruger, Thinking of You, in: Art Monthly (London, Sep. 2000), No 239, pp. 35-36.
Nadja Rottner, “Martha Rosler: Positions in the Life World,” in: NY Arts Magazine, Vol. 5, No. 4 (Sep. 2000) p. 78.
James Meyer, in: Artforum, December 2000, p. 114-115.
Michael Rush “A Pure Artist is Embraced by the Art World”, in: The New York Times, July 9, 2000, pp. 27,29.
Logan Hill: Art: Retrospective Survivor”, July 24, 2000, P.71.

1999
Ruth Noack and Roger M. Buergel, “So tun, als ob,” Springerin (Vienna), Vol. V, No. 2 (Jun-Aug. 1999). Reprinted in Christian Höller, ed., „Widerstände: Interviews und Aufsätze aus der Zeitschrift Springerin 1995-1999“ (Vienna & Bolzano: Folio Verlag, 1999).
John Slyce, “Martha Rosler” interview, in: Dazed & Confused, No. 54 (May 1999), pp. 72-77.
Annette Beiler, interview on activist art for “The Music Box,” ORTF (Austria Radio).
“Video Mode” interviewed by Stephan Pascher, in: Merge (Stockholm and New York) No. 6, Fall 1999, pp. 32-35. Accompanied by “Roadwork,” an insert by Martha Rosler.
Stephan Pascher, interview, in: Metropolis M (Utrecht), No. 5, Oct.-Nov. 1999, pp. 40-46.
Christian Kravagna, “Martha Rosler, Generali Foundation”, in: Artforum, October 1999, p. 154.
Sigrid Adorf, “Martha Rosler, Positionen in der Lebenswelt”, in: Camera Austria, Heft 67, 1999, p. 91-92.
Susanne Leeb, “Zur Forschung Freigegeben”, in: Texte zur Kunst, 9. Jhrg., Heft 35, Sept. 1999, S. 261-265.
“Von Kunst und Krieg”, in: Kölner Stadtanzeiger, Nr. 165, Saturday/Sunday 17./18. July 1999, p. 39.

Petra Löffler, “Krieg im Wohnzimmer, Martha Rosler kommentiert den Nato-Luftkrieg”, Stadtrevue, July 1999, p. 138.
Sylvie Alberton, “Qu’est-ce que la mode?, Martha Rosler questionne notre contemporain”, in: Kunst-Bulletin, April 1999, p. 26-27.
Gabriele Schor, “Wir leben in der schlechtesten aller Welten, Ausstellung Martha Rosler in Wien”, in: Neue Zürcher Zeitung, 220. Jhg., Nr. 160, 14. July 1999, p. 33.
Anne Erfle „Das Verquere am Verkehr, Martha Roslers Soziokulturelle Studien im Kunstraum“ Süddeutsche Zeitung, May 1999.
Vogue (Paris) „Martha Rosler“ On An parle-column, No. 54 (April 1999), p.34.
„Martha Rosler“ interviewed by John Slyce. Dazed and Cofused, No. 54 (May 1999) pp. 72-77.
Véronique Bourquet-Aubertot „Artiste du Mois: Martha Rosler“, in: Beaux Arts Magazine, Apr.1999.
Elisabeth Lebovice, „Martha Rosler, Manifestement Pop“, in: Libération, March 30, 1999.
Michel Guerrin „Martha Rosler, guérrillera de l’art américain“, in: Le Monde, Feb.25, 1999.
Hauviette Bethemont „Une Américaine à Villeurbanne“, in: Libération, Feb. 18, 1999.
Adrian Searle, “Follower of Convention“, in: The Guardian, 12. Jan. 1999.

1998
Heike Munder, “Martha Rosler im INIT“, in: Eikon, Nr. 26/27, 1998/99, p. 91/92.
 Jodi Hauptman, „Martha Rosler’s Airport Spaces“, in: “Fernand Leger” (exhibition catalogue, New York, Museum of modern Art, 1998).
John Tozer, „Airport“, in: Camera Austria, Nr. 61, Frühjahr 1998, p. 101.

1997
Gregory Vok, 2Martha Rosler“, in: ArtNews Mai 1997.
Grady T. Turner, „Martha Rosler at Jay Gorney“, in: Art in America, May 1997.
Adrain Rifkin „Face à l’Histoire“, in: Artforum, April 1997.
Alexander Alberro, „Martha Rosler“, in: Artforum, April 1997

1996
Laura Cottingham „The Inadequacy of Seeing and Believing: The Art of Martha Rosler“ in: M.Catherine de Zegher ed „Inside the Visible“ Boston: Institute of Contemporary Art, 1996, pp. 157-163.
Eleanor Hearthy. „Alternative America“, in : Art in America, June 1996, p. 34-38.
Katie Mills, „The Work of Art in the Age of Identity“ and Debra Wilbur, introduction to the catalogue, in cat: Love’s Labor’s Lost, City Gallery in Chastain, Atlanta, 1996.
Thomas Crow, „Modern Art in the Common Culture“, London, Yale University Press, 1996.
Johanna Drucker: 2Diversity in American Art from 1975 to the Present“, inAr at the End of the 20th Century, National Gallery and Alexander Soutsos Gallery, Athens, 1996.

1995
Deborag J Ahynes, „Bakhtin and the Visual Arts“, Cambridge University Press, 1995, p. 162-163.

Elisabeth Block, „Public Information. Desire, Disaster, Document“, in Camerawork, Bd. 22, Nr. 1, Spring/ Summer 1995, p. 36.
Lucy Lippard, „The Pink Glass Swan“, New Press, 1995.
Joan Seeman Robinson, „Martha Rosler at the Contemporary Arts Center“, in: Artforum, Jan. 1995.

1994
Val Williams, „The Myth and the Media: Photography and the Vietnam War, 1968-1992“, in: Warworks: Women, Photography and the Iconography of War, London: Vriago, 1994, p. 52-57.
Abigail Solomon-Godeau, „Inside/Out“, p. 49-61, Robert R. Riley, „Leave Proof:
Media and Public Information“, p. 62-65; and John p. Weber, „Martha Rosler“, p. 116 – 121, in: Public Information: Desire, Disaster, Document, San Francisco: Museum of Modern Art, 1994, exhibition catalogue.
Susanne Lacy, „Debated territory: Toward a Critical Language for Public Art“ and Susan L. Steinmann, „Directional Signs: A Compendium of Artists’ Works“, in : Mapping the Terrain New Genre Public Art, Susanne Lacy (ed.), Seattle: Bay Press 1994.
Moira Roth and Yolanda López, „Social Protest: Racism and Sexism“, in: The Power of Feminist Art, Norma Broude and Mary Garrard (ed.), New York: Abrams, 1994.
Laura Cottingham, „The Damned Beautiful“, in: New Art Examiner, April, 1994, p. 28.
David Brown and Robert Merrill(ed.), „Violent Persuasions: The Politics and Imagery of Terrorism“, see section: Film and Video, in: Beyond Glory: Re-Presenting Terrorism, p. 294.

1993
Laura Cottingham: „Martha Rosler. Crossing Borders“, in: Frieze, Nov./Dec., 1993, p. 52-55.
Francis Frascina, „The Politics of Representation“, in: Paul Wood, Francis, Frascina, Jonathan Harris and Charles Harrison, Modernism in Dispute: Art Since the Forties, New Haven London: Yale University Press, 1993, p. 10-161.
Frits Giertsberg „Strategieën voor een nieuwe architectuurfotografie“ de Architect (The Hague), No.51 (May 1993), pp.32-42. Special issue on architectural photography.
Virginia Carmichael „Martha Rosler’s Unknown Secrets“ in Framing History: The Rosenberg Story and the Cold War. Minneapolis: University of Minnesota Press, 1993.
Marjorie Welish, Interview, in: Bomb magazine 1993.
Craig Owens, „The Discourse of Others: Feminism and Postmodernism“, in: Beyond Recognition: Representation, Power and Culture, Berkeley, Los Angeles and Oxford: University of California, 1992, republished in: Virginia Carmichael, „Martha Rosler’s Unknown Secrets“, in. Framing History: The Rosenberg Story and the Cold War, Minneapolis: University of Minnesota Press, 1993, p. 206 –211.

1992
Laura Cottingham, „The War is Always at Home“, Simon Watson Gallery, New York, exhibition leaf-let, Lori Zippay er al., „Artists’ Video: An International Guide“, New York, Abbeville Press, 1992.
Brian Wallis, „Living Room War“, in: Art in America, February 1992.
Craig Owens: „The Discourse of Others: Feminism and Postmodernism“, in: Craig Owens: „Beyond Recognition: Representation, Power, and Culture.“, 1992. (previously printed in: Hal Forster, ed.: „The Anti-Aesthetic: Postmodernism and Culture“, 1983.)

1990
Patricia Mellencamp, „Indiscretions: Avant-Garde Film, Video & Feminism“, Bloomington: Indiana University Press, 1990, p. 121, 124-125.
Roberta Smith, „The Decade Show“, in: New York Times, 26. June 1990.
Ernest Larsen, „Eho Owns the Streets?“ in: Art in America, January 1990.
Rosalyn Deutsche „Alternative Space“ in If You Lived Here (Seattle: Bay Press, 1991).

1989
Steve Edwards „Secrets from the Street and Other Stories“ Ten-8 magazine, Winter, 1989/90.
Eleanor Heartney, „Martha Rosler at Dia“, in: Art in America, November 1989, p. 186.
Irene Berggen, „Martha Rosler“, in Bildtidningen, Nr. 42, February 1989.
Henry Sayre, „The Object of Performance“, Chicago: University of Chicago Press, 1989

1988
Linda Hutcheon, „A Poetics of Postmodernism: History, Theory, Fiction“, London and New York: Routeldge, 1988, p. 207, 228.
Margot Lovejoy, „Postmodern Currents: Art and Artists in the Age of Electronic Media“, Ann Arbor: Umi Res. Press, 1988.
Robert Fichter and Paul Rutkovsky, „Interview with Martha Rosler“, in: Art Papers, Bd. 12, Nr. 1, Jan./Feb. 1988.

1987
Abigail Solmon-Godeau,“Sexual Difference: Both Sides of the Camera“, in: C.E.A.P. Quarterly, Bd. 2 Heft 3 & 4, Spring/Summer 1987.
William Olander, „Women and the Media: A Decade of New Video“ (worked out version by Olander, Grant Kester, „Toward a New Social Documentary“, in: Afterimage, Bd. 14, Nr. 8, March 1987.

1986
Patricia Mellencamp, „Avant-Garde TV: Simulation an Surveillance“, in: Vidéi, René Payant (ed.), Montréal. Artextes, 1986, p. 198-199.
Benjamin Buchloh „From Gadget Video to Agit Video: Some Notes on Four Recent Video Works.“ Art Journal, Fall 1985 (published 1986).
William Olander, „Fragments“, in: The Art of Memory, the Loss of History, New York: The New Museum of Contemporary Art, p. 11.
Abigail Solomon-Godeau „Photography after Art photography“ In Brian Wallis, ed. Art After

1984
„Modernism: Rethinking Representation“ New York and Boston: The New Museum, Godine, 1984.
Lucy Lippard, „Get the message? A Decade of Art for Social Change“, New York, 1984.
Craig Owens, „The Discourse of Others: Feminism and Postmodernism,“ in: The Anti-Aesthetic: Postmodernism and Culture, Hal Foster (ed.), Port Townsend, Wash.: Bay Press, 1983, republished in: Craig Owens, Beyond Recognition: Representation, Power, and Culture, Berkeley, Los Angeles and Oxford: University of California, 1992.

1983
Marilynne p. Mason, „Social Conscience Inspires ‚Commentaries’ Artists“, Silver & Gold Record (University of Colorado), 15. Sept. 1983.
Moira Roth, „Martha Rosler“, in: The Amazing Decade: Women and Performance Art in America, 1970-1983, Moira Roth (ed.), Los Angeles: Astro Artz, 1983.
Craig Owens: „The Discourse of Others: Feminism and Postmodernism“, in: Hal Forster, ed.: „The Anti-Aesthetic: Postmodernism and Culture“, 1983.

1982
Benjamin H.D. Buchloh, „Documenta 7“, in: October, Nr. 22, Autumn 1982.
Benjamin H.D. Buchloh, „Appropriation and Montage in Contemporary Art“, in: Artforum, September 1982.

1981
Micki McGee, „Narcissism, Feminism, and Video Art: Some Solutions to a Problem of Representation“, in: Heresies, Nr. 12, (Bd. 4, Nr. 3) 1981.
Lucy Lippard, „The Angry Month of March“, in: Village Voice, 25.-31. March 1981.

1979
Allan Sekula, „Dismantling Modernism, Reinventing Documentary“, in: Photography, Special edition, Massachusetts Review, Winter 1979.

1977
Kim Levin, Southern California, The Video Landscape“, in LAICA Journal, January 1977.