Make-up/ Hands-up, from the series House Beautiful: Bringing the War Home

Martha Rosler, Make-up/ Hands-up, from the series House Beautiful: Bringing the War Home, ca. 1967-1972, printed 2018, inkjet print, Smithsonian American Art Museum, Gift of Norbert Hornstein and Amy Weinberg and museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2021.7.10, Courtesy of the artist and Mitchell-Innes & Nash, New York © Martha Rosler
Martha Rosler, Make-up/ Hands-up, from the series House Beautiful: Bringing the War Home, ca. 1967-1972, printed 2018, inkjet print, overall: 24 × 20 in. (61 × 50.8 cm), Smithsonian American Art Museum, Gift of Norbert Hornstein and Amy Weinberg and museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2021.7.10, Courtesy of the artist and Mitchell-Innes & Nash, New York © Martha Rosler

Artwork Details

Title
Make-up/ Hands-up, from the series House Beautiful: Bringing the War Home
Artist
Date
ca. 1967-1972, printed 2018
Location
Not on view
Dimensions
overall: 24 × 20 in. (61 × 50.8 cm)
Copyright
Courtesy of the artist and Mitchell-Innes & Nash, New York © Martha Rosler
Credit Line
Gift of Norbert Hornstein and Amy Weinberg and museum purchase through the Luisita L. and Franz H. Denghausen Endowment
Mediums Description
inkjet print
Classifications
Subjects
  • Figure group
  • Occupation — military — soldier
  • Figure female — fragment — face
  • Dress — accessory — makeup
  • Object — weapon — gun
Object Number
2021.7.10
Linked Open Data
https://edan.si.edu/saam/id/object/2021.7.10

Artwork Description

House Beautiful: Bringing the War Home addresses the subject of gender as it confronts the effects of war and militarism. Collaged from advertising and photojournalistic images cut from newspapers and magazines, the artworks in this series juxtapose the "feminine" realm of domestic life with the "manly" business of waging war.
 
When Martha Rosler created these works, the US war in Vietnam was rapidly escalating. She observed that news images of the war often reinforced the impression that it was taking place "very far away, in a place we couldn't imagine." She crafted her photomontages to collapse the distance between home front and war front, essentially "bringing the war home." In the artist's words, "We are not 'here' and 'there.' We are all one, and that is crucial."

Works by this artist (6 items)

View all artworks
Bill Beirne, Cross Reference, 1976, two-channel video installation, color, sound; 32:00 minutes, Smithsonian American Art Museum, Museum purchase through the Gene Davis Memorial Fund, 2015.6.2, © 1976, Bill Beirne
Cross Reference
Artist
Date1976
two-channel video installation, color, sound; 32:00 minutes
Not on view
Bill Beirne, Breathe, 1972, single-channel video, black and white, sound; 10:24 minutes, Smithsonian American Art Museum, Museum purchase through the Gene Davis Memorial Fund, 2015.6.1, © 1972, Bill Beirne
Breathe
Artist
Date1972
single-channel video, black and white, sound; 10:24 minutes
Not on view
Bill Beirne, Lights of Glass, 1971, 16mm film, black and white, silent; 05:44 minutes, Smithsonian American Art Museum, Museum purchase through the Gene Davis Memorial Fund, 2015.6.4, © 1971, Bill Beirne
Lights of Glass
Artist
Date1971
16mm film, black and white, silent; 05:44 minutes
Not on view
Bill Beirne, Drawing, 1972, single-channel video, black and white, sound; 12:42 minutes, Smithsonian American Art Museum, Museum purchase through the Gene Davis Memorial Fund, 2015.6.3, © 1972, Bill Beirne
Drawing
Artist
Date1972
single-channel video, black and white, sound; 12:42 minutes
Not on view