Years ago, I wrote that seekers of all stripes—journalists, philosophers, scientists, mystics—are chasing the same elusive thing: something like truth, understanding, a fully integrated perspective, awakeness, untangling. We just ask questions in different contexts, modalities, and microcosms.
Martha Rosler is a New York-based artist and activist who has used the photomontage format to explore power, gender, and war in American society—themes that are as present today as they were when she first began experimenting with these ideas in the mid-sixties. From the inception of her career, which has spanned media, Rosler has maintained her investigation into the distribution and reception of mass-produced images, using the collage format to layer disparate images—from fashion, advertising, lifestyle, politics, and war—to suggest the simultaneity and indeed co-dependence of seemingly distinct realities. Her groundbreaking early work, including Body Beautiful (1966–1972) and House Beautiful: Bringing the War Home (1967–1972), established a firm visual foundation in which the “ugliness” of violence—initially the Vietnam War, then Afghanistan, and now encompassing other atrocities—punctures the veneer of domestic perfection as staged by lifestyle magazines and mainstream advertising.
“The painter wanders and loiters contentedly from place to place, always on the lookout for some brilliant butterfly of a picture which can be caught and set up and carried safely home.”
– Winston Churchill, 1948, Painting as a Pastime
“I realized these were all the snapshots which our children would look at someday with wonder, thinking their parents had lived smooth, well-ordered lives and got up in the morning to walk proudly on the sidewalks of life, never dreaming the raggedy madness and riot of our actual lives, our actual night, the hell of it, the senseless emptiness.”
― Jack Kerouac, On the Road
When I first heard of the Nicaraguan Canal Project, I thought of the 19th-century artists Martin Johnson Heade and Norton Bush. It was winter, and I was driving through Wisconsin, early evening, listening to the news. The canal, the reporter said, would be three times as long and twice as wide as the Panama Canal. It would fit extra-large container ships. It might stimulate Nicaragua’s economy. Environmental groups were protesting potentially large-scale disaster.
In his 1838 “Essay on American Scenery,” Thomas Cole—the celebrated “founding father” of the Hudson River School of American landscape painting—wrote that American landscapes are:
a subject that to every American ought to be of surpassing interest; for, whether he beholds the Hudson mingling waters with the Atlantic—explores the central wilds of this vast continent, or stands on the margin of the distant Oregon, he is still in the midst of American scenery—it is his own land; its beauty, its magnificence, its sublimity—all are his; and how undeserving of such a birthright, if he can turn towards it an unobserving eye, an unaffected heart!
Emma CroweRobert S. Duncanson and the Birthright of Landscape