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WORKS ON PAPER
restless mobility
- Art Journal, Spring 2001
"Restless Mobility" explored the publication as a roving public
site: traveling throughout the city, broadcasting from the street corners
or subway platforms and infiltrating our most intimate geographies.
Images were imbedded throughout the architecture of the journal, on
the inside front and back covers, disguised as advertisements, running
intermittently between articles.
ecstasy on arrest
- 2000
In this series of prints, the images are from a newspaper feature entitled:
"The Suffragette Face: New Type Evolved by Militancy" which
originally appeared in a British anti-suffrage publication in 1914,
and was later re-printed in Lisa Tickner's book "The Spectacle
of Women." The images are of women in states of extremity, in the
process of being arrested, moments before, during, and after confrontations
with the police; women outside the domestic sphere, in public, speaking
and demonstrating. The captions: "She is defiant, Ecstasy on arrest,
Rather emotional, Youth looks like old age," etc. characterize
and define the images. In the installation, the captions are separated
from the images and placed in opposition to them, implicating the viewers
passing between them.
double self portrait
- 1992
collection Rose Art Museum, Brandeis University
"Double
Self-Portrait" pairs images of German actresses from the 1930's
with anti-Semitic caricatures of men found in 18th - 20th century publications
from France, Germany, the Middle-East and the former Soviet Union. The
prints, matted with gilded glass, are presented with the formal conventions
of historical portraiture. The images of women, are enlargements of
collectable variety cards, found in German cigarette packages in the
1930's. These cards were organized in series, with titles: "A German
Woman, A German City" or "A German Profile," etc. - ,
suggesting the racist sentiments embedded in German society and prefiguring
the National Socialists.
those which are most common - 1989
"What was set into motion in Those Which Are Most Common is the
specific matrix of history and documentation, their mediation through
form, and the placing of the individual in the current of historical
events. As a large and irresoluble set of questions on the nature of
historical experience, the artworks generated from this matrix remain
provisional responses, mediations on the range of possible relationships."
from "Department of Correction: Notes on Ellen Rothenberg's Those
which are most common," by Dan Eisenberg
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