The Low-Res Visiting Artist & Scholar Lecture Series resource guides contain upcoming speakers' biographies, articles, video and audio content, related publications in the Flaxman Library, and additional online resources. These guides may be used in preparation for the public lecture, studio visits, and post-lecture discussion.
Rosalyn Deutsche: Thursday, June 26, 6:00–7:30 p.m. CT
SAIC Ballroom, 112 South Michigan Avenue
“Let there be a grain of prophet in every man!” So writes the liberation theologist Rabbi Abraham Heschel, a powerful influence on artist-activist Gregg Bordowitz, the subject of Rosalyn Deutsche’s talk. Bordowitz’s “survey” exhibition I Wanna Be Well, which dealt with today’s global AIDS crisis and racist violence, responded to Heschel’s call, leaping into action against social inequality. Rosalyn Deutsche is an art historian and critic who teaches modern and contemporary art at Barnard College/Columbia University in New York City. She is the author of Evictions: Art and Spatial Politics (MIT Press,1996), Hiroshima After Iraq: Three Studies in Art and War (Columbia University Press, 2010), and Not-Forgetting: Contemporary Art and the Interrogation of Mastery (University of Chicago Press, 2022).
The Fine Art of Gentrification*
Rosalyn Deutsche, Cara Gendel Ryan | October, Vol. 31 | pp. 91-111 | Winter 1984
*This is a library resource that requires ARTIC login
Feminist Time: A Conversation
Rosalyn Deutsche, Aruna D’Souza, Miwon Kwon, Ulrike Müller, Mignon Nixon, Senam Okudzeto | Grey Room (31) | pp. 32-67 | Spring 2008
Not-Forgetting: Mary Kelly’s Love Songs
Rosalyn Deutsche | Grey Room (24) | pp. 26-37 | Summer 2006
The Flood of Rights: Rosalyn Deutsche [event recording]
LUMA Live | 2013 | Please note this video does not provide closed captions or transcripts
Martha Rosler
by
The work of Martha Rosler is perennially incisive, provocative, political, and timely, exploring a range of issues from everyday life and the media to architecture and the built environment, especially as they affect women. Over her prolific career, Rosler has returned to themes of social justice, popular culture, food, gardens and the natural world, and the intersection of aesthetics and ethics. Martha Rosler: Irrespective is the only survey of the artist's vital and enduring work, examining it across media including photocollage, video and film, installation, actions, and books. In addition to a rich array of artworks, this book presents texts by distinguished critics and art historians, and a candid and insightful conversation with the artist. Through her interrogations of the Vietnam War, the War on Terror, feminism, gentrification, and other timely issues, Rosler has persistently bridged art and activism. This important catalogue comes at a moment when work like Rosler's has the power to inspire change. Published in association with the Jewish Museum, New York Exhibition Schedule: The Jewish Museum (11/02/18-03/03/19)
Hiroshima after Iraq
by
Many on the left lament an apathy or amnesia toward recent acts of war. Particularly during the George W. Bush administration's invasion of Iraq, opposition to war seemed to lack the heat and potency of the 1960s and 1970s, giving the impression that passionate dissent was all but dead. Through an analysis of three politically engaged works of art, Rosalyn Deutsche argues against this melancholic attitude, confirming the power of contemporary art to criticize subjectivity as well as war. Deutsche selects three videos centered on the deployment of the atomic bomb: Krzysztof Wodiczko's Hiroshima Projection (1999), made after the first Gulf War; Silvia Kolbowski's After Hiroshima mon amour (2005-2008); and Leslie Thornton's Let Me Count the Ways (2004-2008), which followed the U.S. invasion of Iraq. Each of these works confronts the ethical task of addressing historical disaster, and each explores the intersection of past and present wars. These artworks profoundly contribute to the discourse of war resistance, illuminating the complex dynamics of viewing and interpretation. Deutsche employs feminist and psychoanalytic approaches in her study, questioning both the role of totalizing images in the production of warlike subjects and the fantasies that perpetuate, especially among the left, traditional notions of political dissent. She ultimately reveals the passive collusion between leftist critique and dominant discourse in which personal dimensions of war are denied.
The Future Did Not Have to Be Luxury Condos: Revisiting Gordon Matta-Clark
Sarah Cowan | The New Yorker | March 18, 2018