![]() I remember I was sitting at my mother’s dining room table looking at a newspaper with a picture of a Vietnamese woman with a look of absolute panic on her face, swimming across a body of water with a child in her arms, and I was just transfixed.Īll of a sudden, it occurred to me that the same kind of collaging that I had been using to critique the representation of women, I could use as a form of protest against the war. I was essentially cutting up pieces and pasting them on other advertising. Martha Rosler: In the middle of the 1960s, I was making photomontages that had to do with representations of women in magazines and newspapers. Laura Hubber: How did you first start making these collages? The conversation seems particularly relevant in light of current events. ![]() I interviewed Rosler for the exhibition’s audio tour (a track is embedded below, and the full tour is available free online). Some of this early work- House Beautiful: Bringing the War Home-is included in an exhibition at the Getty Museum, Breaking News: Turning the Lens on Mass Media (through April 3, 2017). “My intention was to draw people in,” she says. In these collages, Rosler combined idealized interiors with images evocative of war, though rarely of violence. In 2004, she returned to the form to protest the wars in Iraq and Afghanistan.
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