Writer Abbe Schriber visited Martha Rosler in her Greenpoint studio and home to speak with her about Culture Class and its connections with her artistic practice more broadly.

Dalton gently shatters a few idealistic beliefs about select personalities—Stewart, Stephen Colbert, and Rachel Maddow, among others—that, “in the larger sea of fear-, humiliation-, and tragedy-based media,” as she puts it, have long been refuges of sanity for many of us.

Artists, more so than most cultural figures, have a deeply ambivalent relationship to biography. In particular, women artists have historically confronted two categorical extremes: on the one hand, a dearth of material documenting their lives and work; on the other, identity overexposure, or reliance on artistic interpretation based solely on personal details.

When Osama bin Laden was assassinated earlier this year, it was an uncanny coincidence that I happened to be reading Mira Schor’s essay chronicling the days after September 11.

In The New Woman International: Representations in Photography and Film from the 1870s through the 1960s, author Lisa Jaye Young refers to the female body as “the terrain of contestation for modernism,” characterizing the predicament faced by women before and after the turn of the century