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Barbara Rosenthal
Barbara Ann Rosenthal (born 1948) is an American avant-garde artist, writer and performer.[1] Rosenthal's existential themes have contributed to contemporary art and philosophy.[2] Rosenthal's pseudonyms are "Homo Futurus," which was taken from the title of one of her books,[3] and "Cassandra-on-the-Hudson,"[4] which alludes to "the dangerous world she envisions"[5] while creating art in her studio and residence on the Hudson River in Greenwich Village, NYC. Rosenthal trademarked "Homo Futurus" in 2022. Rosenthal is a conceptual artist whose archives have been accepted by Queens College.[6] Rosenthal uses X-rays, brain scans, physical or textual elements from her journals, and clothing in her work.[7] Early lifeRosenthal was born in The Bronx in 1948. Education and early careerAt age 11, Rosenthal was a weekly columnist for her town newspaper, The Franklin Square Bulletin.[8] Rosenthal attended the Brooklyn Museum Art School, studying figure drawing and painting with instructor Isaac Soyer. In 1962–64, she attended the Art Students' League, focusing on figure drawing and painting. During 1964-66, she studied Art History at New York University. She attended Carnegie-Mellon University and during her sophomore and senior years was editor of the literary art magazine, Patterns. In 1968–69, she spent her junior year at Temple University/Tyler School of Art in Rome, Italy, studying art and art history. She received her BFA in painting from Carnegie-Mellon in 1970. She then attended The City University of New York/City College, for Education and Psychology in 1970–71; Seattle Pacific College, for Media and education of the Gifted in 1972–73; and received her MFA in painting at The City University of New York/Queens College in 1975. During her years as an art student and teacher, Rosenthal supplemented her earnings as an assembly-line-painting artist; as a photojournalist stringer for The Village Voice, East Village Eye, and The New York Post; and as a go-go dancer at clubs including Metropole Cafe and Club Mardi Gras in Times Square, New York City.[9] From 1972 to 1974, she taught printmaking and was director, set designer, and lighting technician for several performances at the Lakeside School, a private high school in Seattle, Washington. Teaching positions and other employmentRosenthal's first college teaching position was as a sabbatical replacement instructor of painting at Stephens College, Columbia, Missouri, in 1976–77. In 1982, with video pioneer Bill Creston, she founded eMediaLoft.org. Since 1990, Rosenthal has taught writing as an adjunct lecturer at the College of Staten Island of The City University of New York (CUNY/CSI). Rosenthal has also taught photography, video, multi-media, painting, drawing, design, crafts, and art history at other colleges, including, among those in New York, The School of Visual Arts (SVA) and Parsons School of Design, where she was editor and producer of The College Council Faculty Affairs Newsletter. She also taught as an Adjunct Assistant Professor of Photography at SUNY/Nassau in 1994. She co-founded the Outrageous Consortium with filmmaker Margot Niederland in 2005; and founded The Museum of Modern Media in NYC, in 2006. ActivismIn 1986, Rosenthal became an associate of the Women's Institute for Freedom of the Press (WIFP).[10] WIFP is an American publishing NGO. WritingAs a writer, Barbara Rosenthal produces aphorisms, slogans, quips, poetry, stories, novels, text-based art, artist's books, pamphlets, art criticism, reviews, and essays.[11][6] Most of her aphorisms concern the nature of time and reality. They are issued as "Provocation Cards", which she hands out free in performance or on the street.[1] Her fiction, like her visual art, presents a grim worldview, depicting surreal surroundings in which a lone individual faces incomprehensible situations.[12] Rosenthal is a regular contributor to NY Arts Magazine and is known for her principled stand against art as advocacy, which she labels "retrogarde".[13] This sets her in opposition to many prevailing political, cultural and feminist trends in contemporary art.[13] In 1982 Rosenthal became an associate member of the Women's Institute For Freedom of the Press, Washington, DC.[14] PerformanceHer performances frequently combine image, text, and video.[1] Live performance, public appearances or even readings were rare for her until 2005[15] Her first performance/installation, "Self-Portrait Room", 1968, was not thought of as being in those genres at that time.[16] Later, at the Tina B. Prague Contemporary Art Festival, October 2009, and again in 2010, she represented the United States in both Performance Art and Text-Based Art.[17] It is in the medium of Performance Art where Rosenthal's themes of individuality, human identity and time are shared with her viewers most directly.[1] Her performances usually mix installation, projected photographic images, text, video, mediated voice, music, and abstract sound.[1] From 1976 to 1984, she performed in videos by placing a stationary camera in front of a single-action life situation. In 1984, she began staging such actions, although still for video, sometimes with other performers, sometimes cutting segments together, such as the 1984 piece Colors and Auras, with poet Hannah Weiner and Sena Clara Creston, age 2. Rosenthal's famous ventriloquism video of 1988, How Much Does The Monkey Count, was reprised in New York at CBGBs in 1991[18] and the Living Theater in 1992. From 1976 to 1996, she was the principal female actor in Super-8 films by Bill Creston, also producing several,[19] seven of which were screened at The Museum of Modern Art in 1989.[20] In 2005, Rosenthal crashed the Performa05 Festival in NY with Existential Interact wearing her image-text "Button Pin Shirts" and handing out Provocation Cards in front of the Guggenheim Museum and White Box Gallery in New York.[21] This interaction (often also incorporating Identity Theft Masks was performed at various iconic street locations in New York,[citation needed] Berlin,[citation needed] Prague,[citation needed] London,[22] Brussels,[23] Paris[1] and Brisbane.[24] The 2011 performance art annual, Emergency Index contains a spread about this project.[25]) In 2013, Rosenthal began experimenting with video morphs, and included this technique in performances of I’m Growing Up, at Grace Exhibition Space in Brooklyn, NY; and at AudioPollen in Brisbane, Australia. This project utilizes the Identity Theft Masks, but Rosenthal herself stands immobile as a white screen on which photographs of her own changing image are projected.[1] PhotographyPhotography is the medium that most expresses this artist's subconscious as she apprehends reality.[26] Particularly in her Surreal Photography,[5][26] ongoing since 1976, Barbara Rosenthal "depicts original perceptions that imply psychological narrative".[5] The images induce "metaphors in a viewer's subconscious."[5] She uses Olympus OM-1 35mm analog cameras to capture full-frame images. Until 2005 she shot only in black and white, which she hand-processed and printed in her darkroom. Since 2006, she also shoots color film. She has continued to hand-process black and white film, sending the color film to a commercial lab, but scans and digitally prints both types of negatives.[27][28] Of all her working styles and genres, her photographs are most readily shown in art galleries. In the past few years, she has had solo or two-person photography shows in Peanut Underground, NYC (2013); Studio Baustelle, Berlin (2013); Visual Voice Gallery, Montreal (2012); and Galerie Glass, Berlin (2011). As with all her media, she works in several forms. Her Surreal Photography retains its full-frame rectangle. It comprises categories she calls Free Birds, Renegade Horses, Trapped Figures, Tiny Houses, Strange Neighborhoods, Aberrant Trees, Dangerous Forests, Sinister Landscapes, Eerie Locations, and Dark Continents.[29] About 200 of her Surreal Photographs have been published by Visual Studies Workshop Press in her offset books. From 1978 to 1988, she also worked as a photojournalist at New York newspapers including The New York Post[30] and the Village Voice.[31] VideoSince 1976, Rosenthal has made over 100 videos. She has worked in different formats as the technology has changed. These include 1/2" open reel, 3/4-Umatic, VHS, mini-DV and HD.[32] Rosenthal's work uses devices such as disruption, rhythm, repetition, manipulation of sequencing and audio tracks, decrease of interval, divisions on the screen, presentations of tension and release, relentlessness and endurance, which Australian art historian Barb Bolt refers to as Rosenthal's "choreography."[6] The first works, The Haircut and The Bath began with 1/2" open reel portapak partnering with Bill Creston.[33] In 1982, she won a Festival Prize for Helen Webster: Cancer and Self-Discovery at the Global Village Video Festival in New York.[34] In 1988, her videos Leah Gluck: Victim of the Twins Experiments and Women in the Camps were shown in installation at The Jewish Museum, New York.[35] Besides partnering in New York and Missouri with Bill Creston in her early videos,[32] as well as his films,[19] she has partnered in Berlin, Germany with DJ RoBeat for several of her videos and live performances since 2008.[5] Art philosophyIn a videotaped 1992 panel discussion with critic Ellen Handy about art-making at The Gallery Of Contemporary Art in Fairfield, Connecticut, she enumerated many "dictums that guide [her] production: that pattern serve as color; that as few materials are used as possible; that as little space is used as possible; that there be no embellishment or superfluous element of design; that a work be visible and present new elements at every distance; that it engage a viewer differently from separate vantages; that it reach several centers of the psyche simultaneously; so a viewer is left room to freely associate; that mystery is always present; that it does not advocate; that it does not mimic past successes; that it can maintain its veracity in an imaginary room of great works; that it be available to everyone and that it be both produced and priced at lowest possible cost."[36] Recent solo exhibitionsRecent solo exhibitions include the following:
Rosenthal's group shows include venues such as Jewish Museum (New York),[35] and the Stenersenmuseet Museum, Oslo, Norway. Major collectionsThe largest holdings of Rosenthal's works in Europe are at Artpool Art Research Center,[41] and the Tate Britain Library, London, England. The largest American holdings of her work are in The Dadabase Collection of The Museum of Modern Art[42] and The Whitney Museum of American Art.[43] Her archives, including over one hundred volumes of workbooks and Journals, and fifty drafts of her unpublished novel, "Wish For Amnesia", are currently housed at eMediaLoft.org, NYC, and bequeathed to the Special Collections of the Hunt Library at Carnegie-Mellon University, upon her death.[44] Grants, honors, awardsIn 2013, Barbara Rosenthal received participation in the New Museum's XFR-STN Transfer Station media archiving project.[45] In 2006, Rosenthal received an Artist's Residency from the Red Gate Gallery, Beijing[46] This follows residencies in 2000 at Visual Studies Workshop Press, Rochester, NY; an Amiga Computer Video Imaging Residency Grant at Adaptors/Brooklyn, NY, in 1996; three Electronic Arts Grant Video Residency, Experimental TV Center, Owego, NY in 1989, 90 and 91;[47][48] a Harvestworks Audio-Video Residency, NYC in 1988 and a Video Arts Residency at Real Art Ways, Hartford, CT in 1988. Rosenthal's monetary awards have included a Media Presentation Grant from Experimental TV Center, Owego, NY in 2000;[49] Finishing Funds from Film Bureau in NYC 1991; a New York State Council on the Arts Video Facility Subsidy Grant at Margolis/Brown Adaptors, Brooklyn, NY in 1998; a Finishing Funds Grant from Media Bureau/The Kitchen in NYC, in 1988; three Artists Space/Artists Grants in NYC 1986, 89 and 90; and a Creative Arts for Public Service C.A.P.S. Grant in Video, New York State, in 1984.[50] Rosenthal received a Medal of Honor from the Brussels Ministry of Culture, Brussels, Belgium, in 1990; Rosenthal received a Global Village Documentary Festival Award in NYC, 1983; listing as a Fiction Writer, Poet, and Spoken Word Artist by Poets & Writers, NYC, since 1986;[51] and elected membership in Pi Delta Epsilon National Publications Honor Society, USA, in 1970. Selected worksBooks
Pamphlets and saddle-stitched books
References
Further reading
External links
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