June/July 1979 issue of Journal. Edited by Debra Burchett and Bridget Johnson. Contents include: "For An Art Against the Mythology of Everyday Life," by Martha Rosler; "Exploring the Mathematical Option in Art," by Bernar Venet; "No Money Back Anytime," by Kristine Stiles; "A Diamond is Forever," by Gregory Battcock; "Chymical Wedding," by Carole Caroompas; "To Pico," by Peter Schjeldahl; "Conceptual Art and the Continuing Quest for a New Social Context," by Robert Morgan; "The Level of Water," by Lawrence Weiner; "A The A The," by Alan Sondheim; "Conceptual Comments," by Douglas Huebler; "On Art Writing/Part I," by Clair Wolfe; "L Three Leers/W Three Whys," by John Baldessari; "Media: TeleVisions," by Christopher Knight; "The Dinner Party," by Melinda Wortz; "With a Dinner Party You Get Cheerleaders," by Suzanne Muchnic; "Photographs from the Dinner Party," by Ruth Askey; "The Chelsea Girls Return," by David James; "Photography: Two Photographic Books: Speaking About the Process of Making," by James Hugunin; "Painting: Back to Back," by Melinda Wortz. ... [details]
Exhibition catalogue published in conjunction with show held September 15 - October 19, 1979. Curated and with a foreword by Nancy Buchanan. Artists include Lee Whitten, Ruth Iskin, Visual Communications, James M. ... [details]
October / November 1977 issue of the periodical "Journal." Edited by Michael Auping. Contents include: "In Memorium: Mitchel David Duggan;" "A Conversation with George Herms," by Susan C. Larsen; "Notes on a Recent Project," by Helen and Newton Harrison; "Some Recent Legislation;" "Book Review," by Richard Armstrong; "A Dialogue with Raul Guerrero," by David Trowbridge; "Crepe de Chine," by Kim MacConnel; "A New-Found Career," by Martha Rosler; "Asians," by Hap Tivey and Melinda Wortz; "For Your Information;" "The Visiting Artist," by Peter Plagens. ... [details]
All three published issues of the periodical The Fox, one of the most important publications of 1970s conceptualism. All issues printed on newsprint, with rough cardboard covers."It is the purpose of our journal to try to establish some kind of community practice. ... [details]
Exhibition catalogue published in conjunction with show held November 23, 1985 - January 19, 1986. Curated by William Olander. Foreword by Marcia Tucker. Essays by William Olander, David Deitcher, and Abigail Solomon-Godeau. ... [details]
Exhibition brochure published in conjunction with show held February 25 - April 2, 1987. Text by show curator, Micki McGee. Artists include Martha Rosler, Suzanne Lacy, Marge Dean, Barbara Latham, Cecelia Condit, Linda Montano, Kathryn High, Vanalyne Green, Jeanine Mellinger, Sarah Tuft, Todd Haynes / Cynthia Schneider, Jason Simon, and Peter Mitchell. ... [details]
Exhibition catalogue published in conjunction with show held at the Museum of Contemporary Art, Cambridge, MA, March 4 - July 16, 2007, organized by Cornelia H. Butler and Lisa Gabrielle Mark. "There had never been art like the art produced by women artists in the 1970s--and there has never been a book with the ambition and scope of this one about that groundbreaking era. ... [details]
August-September 1975 issue of Journal, edited by Peter Clothier. Contents include: "Editorial Comment," by Peter Clothier; "'We the People,' a Proposal," by Joyce Shaw; "Thoughts Toward Two Art Pieces," by David MacDermott; "Up from the Hole," by Tom Edwards; "Cast Aspersions," by Tim Spain; "Libra Piece," by David Antin; "Of What Use Are They: Women in Industry," by Barbara T. ... [details]
Exhibition catalogue published in conjunction with show held at The New Museum of Contemporary Art, New York, December 8 - February 10, 1985 with Feature and Short films shown at Joseph Papps Public Theatre, January 25 - February 3, 1985. ... [details]
Artist's book, edited by Benjamin H.D. Buchloh, which was the first publication in The Nova Scotia Pamphlets series. "In this book photographer and critic Martha Rosler braids together three classic, newly relevant pieces tracing the ways in which photography's aesthetic conventions and social practices fail or succeed in generating socially meaningful work--work that not only takes into account the political conditions within which it was produced and assumes social and political responsibility but also activates the viewer. ... [details]