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of television programming. It is not the production of food in and of itself that is Rosler's target but the taken-for-granted role of happy housewife and selfless producer that the tape intends to spotlight. Her gestures demonstrate frustration with the language of domesticity, as she uses the
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A well-known feminist, Rosler remarked about this work that "when the woman speaks, she names her own oppression." The symbolic terminology of the kitchen, she hypothesized, transforms the woman into a sign of the system of food production and harnessed subjectivity. The video subject is an
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humor, journeys through the alphabet, until the last few letters. For these, U, V, W, X, Y, and Z, the implements are dispensed with and Rosler's gestures and body become a signal system themselves. The Z replicates the mark of
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lexicon, using a different kitchen implement for each step along the way. She begins with an
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domestic space of the kitchen as a backdrop for resistance and change.
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includes a description of the video as well as a clip from it.
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210:. Electronic Arts Intermix. 2006. Archived from
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233:"Food for Thought: A Video Art Sampler"
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254:"Watch This! Revelations in Media Art"
145:Letter by letter, Rosler navigates a
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16:Video art piece by Martha Rosler
258:Smithsonian American Art Museum
235:. The Jewish Museum. 2006-10-31
135:Featuring Rosler as a generic
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350:English-language short films
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208:"Semiotics of the Kitchen"
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285:Semiotics of the Kitchen
106:Semiotics of the Kitchen
37:Semiotics of the Kitchen
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310:1970s feminist films
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185:"outside the box"
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299:Categories
239:2006-11-14
218:2006-11-14
192:References
335:Semiotics
168:semiotics
147:culinary
131:Scenario
111:feminist
95:Language
174:Meaning
155:deadpan
98:English
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114:parody
82:6 min.
160:Zorro
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