Chart semiotics of Social Networking

Semiotics, also called semiotic studies or (in the Saussurean tradition) semiology, is the study of signs and sign processes (semiosis), indication, designation, likeness, analogy, metaphor, symbolism, signification, and communication. Semiotics is closely related to the field of linguistics, which, for its part, studies the structure and meaning of language more specifically. Semiotics is often divided into three branches:

• Semantics: Relation between signs and the things to which they refer; their denotata, or meaning
• Syntactics: Relations among signs in formal structures
• Pragmatics: Relation between signs and the effects they have on the people who use them

Semiotics is frequently seen as having important anthropological dimensions; for example, Umberto Eco proposes that every cultural phenomenon can be studied as communication.^[1] However, some semioticians focus on the logical dimensions of the science. They examine areas belonging also to the natural sciences – such as how organisms make predictions about, and adapt to, their semiotic niche in the world (see semiosis). In general, semiotic theories take signs or sign systems as their object of study: the communication of information in living organisms is covered in biosemiotics or zoosemiosis.

Syntactics is the branch of semiotics that deals with the formal properties of signs and symbols.^[2] More precisely, syntactics deals with the "rules that govern how words are combined to form phrases and sentences."^[3] Charles Morris adds that semantics deals with the relation of signs to their designata and the objects which they may or do denote; and, pragmatics deals with the biotic aspects of semiosis, that is, with all the psychological, biological, and sociological phenomena which occur in the functioning of signs.

Terminology[link]

The term, which was spelled semeiotics, derives from the Greek σημειωτικός, (sēmeiōtikos), "observant of signs"^[4] (from σημεῖον - sēmeion, "a sign, a mark"^[5]) and it was first used in English by Henry Stubbes^[6] in a very precise sense to denote the branch of medical science relating to the interpretation of signs. John Locke used the terms semeiotike and semeiotics in Book 4, Chapter 21 of An Essay Concerning Human Understanding (1690). Here he explains how science can be divided into three parts:

All that can fall within the compass of human understanding, being either, first, the nature of things, as they are in themselves, their relations, and their manner of operation: or, secondly, that which man himself ought to do, as a rational and voluntary agent, for the attainment of any end, especially happiness: or, thirdly, the ways and means whereby the knowledge of both the one and the other of these is attained and communicated; I think science may be divided properly into these three sorts.

—Locke, 1823/1963, p. 174

Locke then elaborates on the nature of this third category, naming it Σημειωτικη (Semeiotike) and explaining it as "the doctrine of signs" in the following terms:

Nor is there any thing to be relied upon in Physick,^[7] but an exact knowledge of medicinal physiology (founded on observation, not principles), semiotics, method of curing, and tried (not excogitated,^[8] not commanding) medicines.

—Locke, 1823/1963, 4.21.4, p. 175

In the nineteenth century, Charles Sanders Peirce defined what he termed "semiotic" (which he sometimes spelled as "semeiotic") as the "quasi-necessary, or formal doctrine of signs", which abstracts "what must be the characters of all signs used by...an intelligence capable of learning by experience",^[9] and which is philosophical logic pursued in terms of signs and sign processes.^[10] Charles Morris followed Peirce in using the term "semiotic" and in extending the discipline beyond human communication to animal learning and use of signals.

Ferdinand de Saussure, however, founded his semiotics, which he called semiology, in the social sciences:

It is... possible to conceive of a science which studies the role of signs as part of social life. It would form part of social psychology, and hence of general psychology. We shall call it semiology (from the Greek semeîon, 'sign'). It would investigate the nature of signs and the laws governing them. Since it does not yet exist, one cannot say for certain that it will exist. But it has a right to exist, a place ready for it in advance. Linguistics is only one branch of this general science. The laws which semiology will discover will be laws applicable in linguistics, and linguistics will thus be assigned to a clearly defined place in the field of human knowledge.

—Cited in Chandler's "Semiotics For Beginners", Introduction.

Formulations[link]

Color-coding hot- and cold-water faucets is common in many cultures but, as this example shows, the coding may be rendered meaningless because of context. The two faucets were probably sold as a coded set, but the code is unusable (and ignored) as there is a single water supply.

Semioticians classify signs or sign systems in relation to the way they are transmitted (see modality). This process of carrying meaning depends on the use of codes that may be the individual sounds or letters that humans use to form words, the body movements they make to show attitude or emotion, or even something as general as the clothes they wear. To coin a word to refer to a thing (see lexical words), the community must agree on a simple meaning (a denotative meaning) within their language. But that word can transmit that meaning only within the language's grammatical structures and codes (see syntax and semantics). Codes also represent the values of the culture, and are able to add new shades of connotation to every aspect of life.

To explain the relationship between semiotics and communication studies, communication is defined as the process of transferring data from a source to a receiver. Hence, communication theorists construct models based on codes, media, and contexts to explain the biology, psychology, and mechanics involved. Both disciplines also recognize that the technical process cannot be separated from the fact that the receiver must decode the data, i.e., be able to distinguish the data as salient and make meaning out of it. This implies that there is a necessary overlap between semiotics and communication. Indeed, many of the concepts are shared, although in each field the emphasis is different. In Messages and Meanings: An Introduction to Semiotics, Marcel Danesi (1994) suggested that semioticians' priorities were to study signification first and communication second. A more extreme view is offered by Jean-Jacques Nattiez (1987; trans. 1990: 16), who, as a musicologist, considered the theoretical study of communication irrelevant to his application of semiotics.

Semiotics differs from linguistics in that it generalizes the definition of a sign to encompass signs in any medium or sensory modality. Thus it broadens the range of sign systems and sign relations, and extends the definition of language in what amounts to its widest analogical or metaphorical sense. Peirce's definition of the term "semiotic" as the study of necessary features of signs also has the effect of distinguishing the discipline from linguistics as the study of contingent features that the world's languages happen to have acquired in the course of human evolution.

Perhaps more difficult is the distinction between semiotics and the philosophy of language. In a sense, the difference lies between separate traditions rather than subjects. Different authors have called themselves "philosopher of language" or "semiotician". This difference does not match the separation between analytic and continental philosophy. On a closer look, there may be found some differences regarding subjects. Philosophy of language pays more attention to natural languages or to languages in general, while semiotics is deeply concerned about non-linguistic signification. Philosophy of language also bears a stronger connection to linguistics, while semiotics is closer to some of the humanities (including literary theory) and to cultural anthropology.

Semiosis or semeiosis is the process that forms meaning from any organism's apprehension of the world through signs. Scholars who have talked about semiosis in their sub-theories of semiotics include C. S. Peirce, John Deely, and Umberto Eco.

History[link]

The importance of signs and signification has been recognized throughout much of the history of philosophy, and in psychology as well. Plato and Aristotle both explored the relationship between signs and the world, and Augustine considered the nature of the sign within a conventional system. These theories have had a lasting effect in Western philosophy, especially through Scholastic philosophy. More recently, Umberto Eco, in his Semiotics and the Philosophy of Language, has argued that semiotic theories are implicit in the work of most, perhaps all, major thinkers.

Early theorists in this area include Charles W. Morris.^[11] Max Black attributes the work of Bertrand Russell as being seminal.^[12]

Some important semioticians[link]

• Charles Sanders Peirce (1839–1914), a noted logician who founded philosophical pragmatism, defined semiosis as an irreducibly triadic process wherein something, as an object, logically determines or influences something as a sign to determine or influence something as an interpretation or interpretant, itself a sign, thus leading to further interpretants.^[13] Semiosis is logically structured to perpetuate itself. The object can be quality, fact, rule, or even fictional (Hamlet), and can be (1) immediate to the sign, the object as represented in the sign, or (2) dynamic, the object as it really is, on which the immediate object is founded. The interpretant can be (1) immediate to the sign, all that the sign immediately expresses, such as a word's usual meaning; or (2) dynamic, such as a state of agitation; or (3) final or normal, the ultimate ramifications of the sign about its object, to which inquiry taken far enough would be destined and with which any actual interpretant can at most coincide.^[14] His semiotic^[15] covered not only artificial, linguistic, and symbolic signs, but also semblances such as kindred sensible qualities, and indices such as reactions. He came circa 1903^[16] to classify any sign by three interdependent trichotomies, intersecting to form ten (rather than 27) classes of sign.^[17] Signs also enter into various kinds of meaningful combinations; Peirce covered both semantic and syntactical issues in his speculative grammar. He regarded formal semiotic as logic per se and part of philosophy; as also encompassing study of arguments (hypothetical, deductive, and inductive) and inquiry's methods including pragmatism; and as allied to but distinct from logic's pure mathematics. For a summary of Peirce's contributions to semiotics, see Liszka (1996) or Atkin (2006).
• Ferdinand de Saussure (1857–1913), the "father" of modern linguistics, proposed a dualistic notion of signs, relating the signifier as the form of the word or phrase uttered, to the signified as the mental concept. It is important to note that, according to Saussure, the sign is completely arbitrary, i.e. there was no necessary connection between the sign and its meaning. This sets him apart from previous philosophers such as Plato or the Scholastics, who thought that there must be some connection between a signifier and the object it signifies. In his Course in General Linguistics, Saussure himself credits the American linguist William Dwight Whitney (1827–1894) with insisting on the arbitrary nature of the sign. Saussure's insistence on the arbitrariness of the sign has also influenced later philosophers and theorists such as Jacques Derrida, Roland Barthes, and Jean Baudrillard. Ferdinand de Saussure coined the term semiologie while teaching his landmark "Course on General Linguistics" at the University of Geneva from 1906–11. Saussure posited that no word is inherently meaningful. Rather a word is only a "signifier," i.e. the representation of something, and it must be combined in the brain with the "signified," or the thing itself, in order to form a meaning-imbued "sign." Saussure believed that dismantling signs was a real science, for in doing so we come to an empirical understanding of how humans synthesize physical stimuli into words and other abstract concepts.
• Jakob von Uexküll (1864–1944) studied the sign processes in animals. He borrowed the German word for 'environment', Umwelt, to describe the individual's subjective world, and he invented the concept of functional circle (Funktionskreis) as a general model of sign processes. In his Theory of Meaning (Bedeutungslehre, 1940), he described the semiotic approach to biology, thus establishing the field that is now called biosemiotics.
• Valentin Voloshinov (1895–1936) was a Soviet/Russian linguist, whose work has been influential in the field of literary theory and Marxist theory of ideology. Written in the late 1920s in the USSR, Voloshinov's Marxism and the Philosophy of Language (tr.: Marksizm i Filosofiya Yazyka) developed a counter-Saussurean linguistics, which situated language use in social process rather than in an entirely decontexualized Saussurean langue.
• Louis Hjelmslev (1899–1965) developed a formalist approach to Saussure's structuralist theories. His best known work is Prolegomena to a Theory of Language, which was expanded in Résumé of the Theory of Language, a formal development of glossematics, his scientific calculus of language.
• Charles W. Morris (1901–1979). In his 1938 Foundations of the Theory of Signs, he defined semiotics as grouping the triad syntax, semantics, and pragmatics. Syntax studies the interrelation of the signs, without regard to meaning. Semantics studies the relation between the signs and the objects to which they apply. Pragmatics studies the relation between the sign system and its human (or animal) user. Unlike his mentor George Herbert Mead, Morris was a behaviorist and sympathetic to the Vienna Circle positivism of his colleague Rudolf Carnap. Morris was accused by John Dewey^[18] of misreading Peirce.
• Thure von Uexküll (1908–2004), the "father" of modern psychosomatic medicine, developed a diagnostic method based on semiotic and biosemiotic analyses.
• Roland Barthes (1915–1980) was a French literary theorist and semiotician. He would often critique pieces of cultural material to expose how bourgeois society used them to impose its values upon others. For instance, the portrayal of wine drinking in French society as a robust and healthy habit would be a bourgeois ideal perception contradicted by certain realities (i.e. that wine can be unhealthy and inebriating). He found semiotics useful in conducting these critiques. Barthes explained that these bourgeois cultural myths were second-order signs, or connotations. A picture of a full, dark bottle is a sign, a signifier relating to a signified: a fermented, alcoholic beverage – wine. However, the bourgeois take this signified and apply their own emphasis to it, making ‘wine’ a new signifier, this time relating to a new signified: the idea of healthy, robust, relaxing wine. Motivations for such manipulations vary from a desire to sell products to a simple desire to maintain the status quo. These insights brought Barthes very much in line with similar Marxist theory.

Signaling and communication between the Astatotilapia burtoni

• Algirdas Julien Greimas (1917–1992) developed a structural version of semiotics named generative semiotics, trying to shift the focus of discipline from signs to systems of signification. His theories develop the ideas of Saussure, Hjelmslev, Claude Lévi-Strauss, and Maurice Merleau-Ponty.
• Thomas A. Sebeok (1920–2001), a student of Charles W. Morris, was a prolific and wide-ranging American semiotician. Though he insisted that animals are not capable of language, he expanded the purview of semiotics to include non-human signaling and communication systems, thus raising some of the issues addressed by philosophy of mind and coining the term zoosemiotics. Sebeok insisted that all communication was made possible by the relationship between an organism and the environment it lives in. He also posed the equation between semiosis (the activity of interpreting signs) and life – the view that has further developed by Copenhagen-Tartu biosemiotic school.
• Juri Lotman (1922–1993) was the founding member of the Tartu-Estonia (or Tartu-Moscow) Semiotic School. He developed a semiotic approach to the study of culture and established a communication model for the study of text semiotics. He also introduced the concept of the semiosphere. Among his Moscow colleagues were Vladimir Toporov, Vyacheslav Vsevolodovich Ivanov, and Boris Uspensky.
• Umberto Eco (1932–present) made a wider audience aware of semiotics by various publications, most notably A Theory of Semiotics and his novel, The Name of the Rose, which includes applied semiotic operations. His most important contributions to the field bear on interpretation, encyclopedia, and model reader. He has also criticized in several works (A theory of semiotics, La struttura assente, Le signe, La production de signes) the "iconism" or "iconic signs" (taken from Peirce's most famous triadic relation, based on indexes, icons, and symbols), to which he purposes four modes of sign production: recognition, ostension, replica, and invention.
• Eliseo Verón (1935–present) developed his "Social Discourse Theory" inspired in the Peircian conception of "Semiosis".
• The Mu Group (Groupe µ) (founded 1967) developed a structural version of rhetorics, and the visual semiotics.

Current applications[link]

Applications of semiotics include:

• It represents a methodology for the analysis of texts regardless of modality. For these purposes, "text" is any message preserved in a form whose existence is independent of both sender and receiver;
• It can improve ergonomic design in situations where it is important to ensure that human beings can interact more effectively with their environments, whether it be on a large scale, as in architecture, or on a small scale, such as the configuration of instrumentation for human use.

In some countries, its role is limited to literary criticism and an appreciation of audio and visual media, but this narrow focus can inhibit a more general study of the social and political forces shaping how different media are used and their dynamic status within modern culture. Issues of technological determinism in the choice of media and the design of communication strategies assume new importance in this age of mass media. The use of semiotic methods to reveal different levels of meaning and, sometimes, hidden motivations has led some^[who?] like Yale's Harold Bloom to demonise elements of the subject as Marxist, nihilist, etc. (e.g. critical discourse analysis in Postmodernism and deconstruction in Post-structuralism).

Publication of research is both in dedicated journals such as Sign Systems Studies, established by Juri Lotman and published by Tartu University Press; Semiotica, founded by Thomas A. Sebeok and published by Mouton de Gruyter; Zeitschrift für Semiotik; European Journal of Semiotics; Versus (founded and directed by Umberto Eco), et al.; The American Journal of Semiotics; and as articles accepted in periodicals of other disciplines, especially journals oriented toward philosophy and cultural criticism. The major semiotic book series "Semiotics, Communication, Cognition", published by De Gruyter Mouton (series editors Paul Cobley and Kalevi Kull) replaces the former "Approaches to Semiotics" (over 120 volumes) and "Approaches to Applied Semiotics" (series editor Thomas A. Sebeok).

Branches[link]

Semiotics has sprouted a number of subfields, including but not limited to the following:

• Biosemiotics is the study of semiotic processes at all levels of biology, or a semiotic study of living systems.
• Semiotic anthropology
• Cognitive semiotics is the study of meaning-making by employing and integrating methods and theories developed in the cognitive sciences. This involves conceptual and textual analysis as well as experimental investigations. Cognitive semiotics was initially developed at the Center for Semiotics at Aarhus University (Denmark), with an important connection with the Center of Functionally Integrated Neuroscience (CFIN) at Aarhus Hospital. Amongst the prominent cognitive semioticians are Per Aage Brandt, Svend Østergaard, Peer Bundgård, Frederik Stjernfelt, Mikkel Wallentin, Kristian Tylén, Riccardo Fusaroli and Jordan Zlatev.
• Computational semiotics attempts to engineer the process of semiosis, say in the study of and design for Human-Computer Interaction or to mimic aspects of human cognition through artificial intelligence and knowledge representation.
• Cultural and literary semiotics examines the literary world, the visual media, the mass media, and advertising in the work of writers such as Roland Barthes, Marcel Danesi, and Juri Lotman.
• Design Semiotics or Product Semiotics is the study of the use of signs in the design of physical products. Introduced by Rune Monö while teaching Industrial Design at the Institute of Design, Umeå University, Sweden.
• Law and Semiotics. One of the more accomplished publications in this field is the International Journal for the Semiotics of Law.
• Music semiology "There are strong arguments that music inhabits a semiological realm which, on both ontogenetic and phylogenetic levels, has developmental priority over verbal language." (Middleton 1990, p. 172) See Nattiez (1976, 1987, 1989), Stefani (1973, 1986), Baroni (1983), and Semiotica (66: 1–3 (1987)).
• Gregorian chant semiology is a current avenue of palaeographical research in Gregorian chant which is revising the Solesmes school of interpretation.
• Organisational semiotics is the study of semiotic processes in organizations. It has strong ties to Computational semiotics and Human-Computer Interaction.
• Social semiotics expands the interpretable semiotic landscape to include all cultural codes, such as in slang, fashion, and advertising. See the work of Roland Barthes, Michael Halliday, Bob Hodge, and Christian Metz.
• Structuralism and post-structuralism in the work of Jacques Derrida, Michel Foucault, Louis Hjelmslev, Roman Jakobson, Jacques Lacan, Claude Lévi-Strauss, Roland Barthes, etc.
• Theatre Semiotics extends or adapts semiotics onstage. Key theoricians include Keir Elam.
• Urban semiotics.
• Visual semiotics – a subdomain of semiotics that analyses visual signs. See also visual rhetoric.^[19]

Pictorial semiotics[link]

Pictorial Semiotics is intimately connected to art history and theory. It has gone beyond them both in at least one fundamental way, however. While art history has limited its visual analysis to a small number of pictures which qualify as "works of art," pictorial semiotics has focused on the properties of pictures more generally. This break from traditional art history and theory—as well as from other major streams of semiotic analysis—leaves open a wide variety of possibilities for pictorial semiotics. Some influences have been drawn from phenomenological analysis, cognitive psychology, and structuralist and cognitivist linguistics, and visual anthropology/sociology.

Semiotics of food[link]

Food has been one traditional topic of choice in relating semiotic theory because it is extremely accessible and easily relatable to the average individual’s life.^[20]

Semiotics is the study of sign processes when conducted individually or in groups and how these sign processes give insight as to how meaning is enabled and also understood.^[20]

Food is said to be semiotic because it transforms meaning with preparation. Food that is eaten by a wild animal raw from a carcass is obviously different in meaning when compared to a food that is prepared by humans in a kitchen to represent a cultural dish.^[20]

Food can also be said to be symbolic of certain social codes. “If food is treated as a code, the messages it encodes will be found in the pattern of social relations being expressed. The message is about different degrees of hierarchy, inclusion and exclusion, boundaries and transactions across boundaries”.^[21]

Food is a semiotic regardless of how it is prepared. Whether food is prepared with precision in a fine dining restaurant, picked from a dumpster, plucked, devoured, or even consumed by a wild animal, meaning can always be extracted from the way a certain food has been prepared and the context in which it is served.

Semiotics and globalization[link]

Present research found that, as airline industry brandings grow and become more international, their logos become more symbolic and less iconic. The iconicity and symbolism of a sign depends on the cultural convention and are on that ground in relation with each other. If the cultural convention has greater influence on the sign, the signs get more symbolic value.^[22]

Main institutions[link]

A world organisation of semioticians – the International Association for Semiotic Studies, with its journal Semiotica – was established in 1969. The larger research centers together with extensive teaching program include the Semiotics Departments of Tartu University, Aarhus University, and Bologna University.

See also[link]

• Outline of semiotics
• Index of semiotics articles

References[link]

Bibliography

Notes

External links[link]

Further reading

Journals, book series — associations, centers

• American Journal of Semiotics, Joseph Brent, Editor, & John Deely, Managing Editor — from the Semiotic Society of America.
• Applied Semiotics / Sémiotique appliquée (AS/SA), Peter G. Marteinson & Pascal G. Michelucci, Editors.
• Approaches to Semiotics (1969–97 book series), Thomas A. Sebeok, Alain Rey, Roland Posner, et al., Editors.
• Approaches to Applied Semiotics (2000–2009 book series), Thomas Sebeok et al., Editors.
• Biosemiotics, Marcello Barbieri, Editor-in-Chief — from the International Society for Biosemiotic Studies.
• Center for Semiotics, Aarhus University, Denmark.
• Cognitive Semiotics, Per Aage Brandt & Todd Oakley, Editors-in-Chief.
• Cybernetics and Human Knowing, Søren Brier, Chief Editor.
• International Journal of Signs and Semiotic Systems (IJSSS), Angelo Loula & João Queiroz, Editors.
• Open Semiotics Resource Center. Journals, lecture courses, etc.
• S.E.E.D. Journal (Semiotics, Evolution, Energy, and Development) (2001–7), Edwina Taborsky, Editor — from SEE.
• Semiotica, Marcel Danesi, Chief Editor — from the International Association for Semiotic Studies.
• Semiotiche, Gian Paolo Caprettini, Managing Director; Andrea Valle & Miriam Visalli, Editors. Some articles in English. Home site seems gone from Web, old url [1] no longer good, and Wayback Machine cannot retrieve.
• Semiotics, Communication and Cognition (book series), Paul Cobley & Kalevi Kull, Editors.
• SemiotiX New Series: A Global Information Bulletin, Paul Bouissac et al.
• Sign Systems Studies, Kalevi Kull, Kati Lindstrom, Mihhail Lotman, Timo Maran, Silvi Salupere, Peeter Torop, Editors — from the Dept. of Semiotics, U. of Tartu, Estonia.
• Signs - International Journal of Semiotics. Martin Thellefsen, Torkild Thellefsen, & Bent Sørensen, chief eds.
• Tartu Semiotics Library (book series), Peeter Torop, Kalevi Kull, Silvi Salupere, Editors.
• The Public Journal of Semiotics, Paul Bouissac, Editor in Chief; Alan Cienki, Associate Editor; René Jorna, Winfried Nöth.
• The Semiotic Review of Books, Gary Genosko, General Editor; Paul Bouissac, Founding Editor.
• Transactions of the Charles S. Peirce Society, Cornelis de Waal, Chief Editor — from The Charles S. Peirce Society.
• Versus: Quaderni di studi semiotici, founded by Umberto Eco.

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Martha Rosler is an American artist. She was born in Brooklyn, New York, where she now lives. However, she spent a formative dozen years in California, from 1968 to 1980, first in north San Diego county and then in San Francisco. She has also lived and taught in Canada. She graduated from Brooklyn College (1965) and the University of California, San Diego (1974). Rosler works in video, photo-text, installation, and performance, as well as writing about art and culture. Rosler’s work is centered on everyday life and the public sphere, often with an eye to women's experience. Recurrent concerns are the media and war, as well as architecture and the built environment, from housing and homelessness to systems of transport.

Her work and writing have been widely influential. She has lectured extensively nationally and internationally and has taught art at Rutgers University, where she was a professor for thirty years, and at the Städelschule in Frankfurt, Germany.

She serves in an advisory capacity to the departments of education at the Whitney Museum of American Art and the Museum of Modern Art and the Center for Urban Pedagogy (all New York City). She is on the board of the Van Alen Institute, in New York City, and is a former board member of the Buell Center for the Study of American Architecture at Columbia University, New York. She is a regular lecturer at the Whitney Independent Study Program in New York.

Rosler's son is the graphic novelist Josh Neufeld;^[1] they have collaborated on a number of projects.

Art[link]

Among her most widely known works are the pioneering videotapes Semiotics of the Kitchen (1974/75), Vital Statistics of a Citizen, Simply Obtained (1977), Losing: A Conversation with the Parents (1977), and, with Paper Tiger Television, Martha Rosler Reads Vogue (1982) and Born to Be Sold: Martha Rosler Reads the Strange Case of Baby S/M (1988).

Her photo/text work The Bowery in two inadequate descriptive systems (1974/75) is considered a seminal work in conceptual and postmodern photographic practice.

Also widely noted are her series of photomontages, Body Beautiful, or Beauty Knows No Pain (c. 1966–72), addressing the photographic representation of women and domesticity, and Bringing the War Home: House Beautiful, addressing the imagery of the Vietnam War (c. 1967–72; reprised in relation to the War in Iraq in 2004 and 2008).

Many of these works are concerned with the geopolitics of entitlements and dispossession. Her writing and photographic series on roads, the system of air transport, and urban undergrounds (subways or metros) join her other works addressing urban planning and architecture, from housing to homelessness.

Exhibitions[link]

Rosler has had numerous solo exhibitions. A retrospective of her work, “Positions in the Life World” (1998–2000) was shown in five European cities (Birmingham, England; Vienna; Lyon/Villeurbanne; Barcelona; and Rotterdam) and, concurrently, at the International Center of Photography and the New Museum of Contemporary Art (both in New York). She has recently been the subject of an extensive retrospective exhibition at the Galleria Civica d’Arte Moderna e Contemporanea (GAM), in Turin. In 2006 her work was the subject of solo exhibitions at the University of Rennes and in 2007 at the Worcester Museum of Art. Her work has been seen in the Venice Biennale of 2003; the Liverpool Biennial, the Taipei Biennial (both 2004), and the Singapore Biennale (2011); as well as many major international survey shows, including the "documenta" exhibitions in Kassel, Germany, of 1982 and 2007, the SkulpturProjekte Münster 2007, and several Whitney Biennials.

In 1989, in lieu of a solo exhibition at the Dia Art Foundation in New York City, Rosler organized the project "If You Lived Here...", in which over 50 artists, film- and video producers, photographers, architects, planners, homeless people, squatters, activist groups, and schoolchildren addressed contested living situations, architecture, planning, and utopian visions. In 2009, an archive exhibition based on this project, "If You Lived Here Still," opened at e-flux's gallery in New York and then traveled (2010) to Casco Office for Art Design and Theory, in Utrecht, Netherlands, and to La Virreina Centre de la Imatge in Barcelona.

At the Utopia Station show at the Venice Biennale of 2003, she worked with about 30 of her students from Stockholm and Copenhagen, as well as a small, far-flung internet group, 'the Fleas', to produce banners and a mini-pavilion exploring utopian schemes and communities and their political and social ramifications.^[2] She has done two tours of historical sites, one in Hamburg (1993) and one in Liverpool (2004), in conjunction with curated art projects. At the Frieze Art Fair (London) of 2005, she conducted a tour of this temporary site from its siting and construction to all aspects of its customer service, maintenance, and security.

Her solo show, “London Garage Sale,” was held at the Institute of Contemporary Arts in London in June 2005, revisiting a series of exhibitions she has held since 1973 that center on the American garage sale.

E-flux sponsored "The Martha Rosler Library," in which, starting in November 2005, over 7,500 volumes from her private collection were made available as a public resource^[3] in venues in and around art institutions, schools, and libraries.^[4] The collection started at e-flux's New York gallery and then traveled to the Frankfurter Kunstverein in Germany; to Antwerp's MuHKA (Museum of Contemporary Art) in conjunction with NICC, an artist-run space; to United Nations Plaza School in Berlin; to the Institut National de L'Histoire de L'Art in Paris; to Stills in Edinburgh; and to the Gallery at the University of Massachusetts, Amherst, before being retired. At the "Martha Rosler Library," visitors could sit and read or make free photocopies. Other projects, such as reading groups, were organized locally in conjunction with the project.

Published works[link]

Martha Rosler's essays have been published widely in catalogues, magazines, such as Artforum, Afterimage, Quaderns, and Grey Room, and edited collections, among them, Women Artists at the Millennium (October Books/MIT, 2006). She has produced numerous other "word works" and photo/text publications; now exploring cookery in a mock dialogue between Julia Child and Craig Claiborne, now analyzing imagery of women in Russia or exploring responses to repression, crisis, and war. Her essay "In, around, and Afterthoughts (on documentary photography)" (1981 but widely cited, republished, and translated) has been credited with a great role in dismantling the myths of photographic disinterestedness and in generating a discussion about the importance of institutional and discursive framing in determining photographic meaning.

Rosler has published sixteen books of photography, art, and writing. Among them are Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004), the photo books Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rights of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) discusses and supplements her Dia project on housing, homelessness, and urban life. Several books, in English and other languages, were published in 2006, including a 25-year edition of 3 Works (Press of the Nova Scotia College of Art and Design ISBN 0-919616-46-1). The collection Imágenes Públicas, Spanish translations of some essays and video scripts, was published in 2007.

Awards[link]

Rosler was awarded the Spectrum International Prize in Photography for 2005.^[5] The prize was accompanied by a photo and video retrospective, “If Not Now, When?” at the Sprengel Museum in Hanover and NGBK in Berlin. The book Passionate Signals accompanied this exhibition. In 2006 she received the Oskar Kokoschka Prize, Austria's highest fine arts award. She received an Anonymous Was A Woman Award for 2007 and was the USA Artists Nimoy Fellow in 2009. She was awarded a Civitella Ranieri Residency for 2009. In 2010 she received a Lifetime Achievement Award from the Guggenheim Museum. Rosler was awarded a DAAD Berlin fellowship for 2011.

Bibliography (selected)[link]

• Imágenes Públicas (Editorial Gustavo Gili, 2007)
• Passionate Signals (Cantz, 2005)
• Decoys and Disruptions: Selected Essays 1975-2001 (MIT Press, 2004)
• Martha Rosler: Positions in the Life World (MIT Press, 1999)
• In the Place of the Public: Airport Series (Cantz, 1997)
• Rights of Passage (NYFA, 1995)
• If You Lived Here (Free Press, 1991)
• 3 Works (1981; republished Press of the Nova Scotia College of Art and Design, 2006) ISBN 0-919616-46-1

Notes[link]

References[link]

• Richard Meyer, “Feminism Uncovered: On the Wack! Catalogue,” Artforum, Summer 2007. pp. 211–212, 548.
• Heather Diack, “Too Close to Home: Rethinking Representation in Martha Rosler’s Photomontages of War,” Prefix Photo (Toronto), Vol. 7, no. 2 (Nov. 2006). pp. 56–69.
• Jean-Marc Huitorel, “Martha Rosler, Sur/Sous le Pavé.” ArtPress, July/August 2006.
• Beatrice von Bismarck, “Freedom I Have None: Martha Rosler in der Galerie Christian Nagel, Berlin.” Texte zur Kunst, #62, June 2006.
• Raimar Stange, “Martha Rosler: Von der notwendigke it (zitierne) der Kunst/ The Need and Necessity for Quotes and Quoting in Art,” Spike, Winter 2005
• Holland Cotter, ‘If It's Too Bad to Be True, It Could Be Disinformation,” New York Times, Art in Review section, Nov. 11 2005
• Frances Richard, “Martha Rosler,” Artforum, Feb 2005, p. 173
• Jens Hoffmann, “The Familiar Is Not Necessarily the Known,” NU: The Nordic Art Review (Stockholm), Vol. III, No. 2, 2001, pp. 58–63
• Martina Pachmanová, “Umeni bourat myty ve svete kolem nás i v nás.” Aspekt (Bratislava), 12/2000-1/2001, pp. 130–136
• Martina Pachmanova, "Interview with Martha Rosler: Subverting the Myths of Everyday Life," n.paradoxa: international feminist art journal (London), issue 19 online, May 2006 pp. 98-109
• Mary Paterson "Martha Rosler: art activist: Mary Paterson interviews Martha Rosler," n.paradoxa: international feminist art journal (London), vol. 23 print, pp.87-91

External links[link]

• Official website
• Buell Center for the Study of American Architecture
• Martha Rosler in the Video Data Bank
• Martha Rosler, Mediateca Media Art space