Martha Rosler, Red Stripe Kitchen, from the series House Beautiful: Bringing the War Home, c. 1967–72. This work is one of twenty pieces from Rosler's House Beautiful: Bringing the War Home (c.1967-72) series created during, and influenced by, the Vietnam War. This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Martha Rosler, House Beautiful: Bringing the War Home Allen Ruppersberg, ... du Vietnam, contre laquelle milite Martha Rosler. As the Vietnam War escalated half a world away, she wanted Americans to recognize their proximity to it, and perhaps even their complicity with it. My name is Martha Rosler and we're discussing a body of work called House Beautiful Bringing the War Home. During the Vietnam War, multimedia artist Martha Rosler was disturbed by what had become a new dinnertime ritual: turning on the television to see upsetting images of the war abroad. Just outside the vast windows appear GIs in a war zone. Of the signed work, the highlights are three photomontages by Martha Rosler, part of her "House Beautiful: Bringing the War Home, in Vietnam," (1967 … Artist Martha Rosler wanted to bring the war home. Her desire to make easy to distribute and visually arresting fliers was the impetus for House Beautiful: Bringing the War Home. The home was a safe haven for many Americans from the realities of war. Martha Rosler est une artiste majeure de la scène artistique internationale, dont la renommée ne cesse d’influencer le champ contemporain. Martha Rosler’s iconic series consists of 20 photomontages conceived in the 1960s and 70s during a time of increased intervention by the United States military in Vietnam. Returning to the method of handcrafted collage—followed now by a scanning and printing process—she reprised the Bringing the War Home series, combining images from Iraq with contemporary interiors. Martha Rosler’s iconic series consists of 20 photomontages conceived in the 1960s and 70s during a time of increased intervention by the United States military in Vietnam. Martha Rosler, Red Stripe Kitchen, from the series House Beautiful: Bringing the War Home, c. 1967–72.Photomontage, 24 x 20 in. It demonstrates how Rosler, like other artists, used her medium as a way to draw attention to the horror of the war raging overseas, while the mainstream media underplayed it. The home was a safe haven for many Americans from the realities of war. Martha Rosler, Isn’t it Nice..., or Baby Dolls, from the series Body Beautiful, ... She points out that the Iraq conflict has lasted even longer than our engagement in the Vietnam War; there are still American troops in the country. Martha Rosler: Bringing the War Home is the first museum exhibition to bring together Rosler’s two landmark series of photomontages. These ten photographs from Martha Rosler’s Bringing the War Home: House Beautiful, 1967-72, utilize the collage technique favored by the Surrealists and later the Pop artists; but Rosler’s central concern isn’t the unconscious, the ironic or the formal. In the pioneering series, Bringing the War Home: House Beautiful (1967-1972), news photos of the Vietnam War are combined with images from contemporary architectural and design magazines. The first (1967–1972), protesting the Vietnam War, combined photographs of the war from Life Magazine with prosperous domestic interiors from House Beautiful. On entering the gallery, viewers are confronted, quite literally, with Rosler’s Reading Hannah Arendt (Politically, for an American in the 21st Century) , 2006, an … My name is Martha Rosler and we are discussing a body of work called House Beautiful (Bringing the War Home). Martha Rosler has frequently addressed war and the national security climate, connecting daily life at home with the conduct of violence abroad. Artist Martha Rosler wanted to bring the war home. c. 1967–72. Martha Rosler: Cleaning the Drapes, from the series House Beautiful: Bringing the War Home, c. 1967-72, Photomontage.Image courtesy of the artist and Mitchell-Innes & Nash, New York . Jan 31, 2019 - Martha Rosler. Conflict was not “very far away, in a place we couldn’t imagine,” as Rosler put it—it was right there in the living room. Martha Rosler, Playboy (On View) from “Bringing Home the War: House. By placing these images within glossy pictures from interior decorating magazines, she created an uncomfortable paradox, agitating viewers and forcing them to see and feel the crisis at hand. Martha Rosler and … In the series of approximately twenty collages, Rosler took advantage of the cache of images taken by photojournalists in Vietnam. In the pioneering series, Bringing the War Home: House Beautiful (1967-1972), news photos of the Vietnam War from Life magazine are combined with domestic interiors from House Beautiful. Rosler conceived Bringing the War Home during a time of increased intervention in Vietnam by the United States military. As the world around her was changing, however, she cast aside this practice in favor of one as important as it was transgressive. Disregarding the gallery labels, which clarify whether an image… Les utilisateurs aiment aussi ces idées Pinterest. Art; The Art of Irreverence: Martha Rosler’s War on Complacency Aujourd'hui. Martha Rosler thinks that Vietnam anti-war literature of the 1960s and ’70s was hideous. It’s the first time the Vietnam War has been addressed on this scale by an art museum. Se connecter. Martha Rosler thinks that Vietnam anti-war literature of the 1960s and ’70s was hideous. As her gestures begin to veer into an unexpected and possibly alarming direction, the character eventually dispenses with the tools and uses her body as a kind of semaphore system. Martha Rosler is an eminent artist, theorist and educator as well as a leading contemporary critical voice within feminist discourses. By placing these images within glossy pictures from interior decorating magazines, she created an uncomfortable paradox, agitating viewers and forcing them to see and feel the crisis at hand. Enregistrée par technè toubiou. In 1955 the Vietnam war started and the origins of the conflict can be traced in the country’s colonial past under the French siege; it was basically a war between North Vietnam, which was supported by the communist allies, and South Vietnam supported by the United States and other anti-communist countries. Empty Boys from the series House Beautiful: Bringing the War Home, in Vietnam. In fact, Rosler felt quite passionately that she shouldn’t profit from such displays of trauma, but instead use them to disrupt and defy — a goal shared by the underground newspapers where she displayed this work. Artist Martha Rosler wanted to bring the war home. She did just that in the work that appears in “Artists Respond: American Art and the Vietnam War, 1965–1975,” an exhibition organized by the Smithsonian American Art Museum and now on view at Mia. Minneapolis Institute of Art2400 Third Avenue SouthMinneapolis, Minnesota 55404888 642 2787 (Toll Free)visit@artsmia.org, “Artists Respond: American Art and the Vietnam War, 1965–1975,”. Since the late–1980s, Belgian art historian Catherine de Zegher has curated many art exhibitions, including solo and group exhibitions in museums worldwide as well as large-scale perennial exhibitions. Rosler began her career as an abstract painter. Rosler’s work, after all, was not only a critique of the war, it was a critique of the prevailing view of women. All too often, she felt, people were desensitized to horrific imagery by the sheer volume of what was filtering into their homes from the so-called first televised war. Not on view. Martha Rosler and Hito Steyerl’s ‘War Games’ opens with nothing much to see (Interviews AM314, AM375). That started from a small action in Vietnam and gradually got bigger and bigger and bigger and it seemed to be beyond reason. DARSIE ALEXANDER: The Vietnam War galvanized Martha Rosler, as it did many artists of her generation. 2. House Beautiful: Bringing the War Home (1967-1972) Rosler conceived House Beautiful: Bringing the War Home during a time of increased intervention in Vietnam by the United States military. Artists Respond: American Art and the Vietnam War, 1965-1975, brings together nearly 100 works by fifty-eight of the most visionary and provocative artists and artist groups of the period, including Asco, Corita Kent, Edward Kienholz, Rupert García, Leon Golub, Hans Haacke, David Hammons, Kim Jones, Yoko Ono, Martha Rosler, Carolee Schneemann and Nancy Spero. Rosler’s work, after all, was not only a critique of the war, it was a critique of the prevailing view of women. It was the first war in history that was literally brought into the homes of American people through the revolutionary new television set from which its horrors could be witnessed daily. Martha Rosler, “Red Stripe Kitchen,” from the series “House Beautiful: Bringing the War Home,” c. 1967-72, photomontage. In the series of approximately twenty collages, Rosler took advantage of the cache of images taken by photojournalists in Vietnam. c. 1967-72. Martha Rosler has seamlessly fused the Dada aesthetic of Hannah Höch with social commentary.“Bringing the War Home” series from 1967-1972, documenting the Vietnam War, as well as the more recent “Bringing the War Home: House Beautiful” series from 2004, illustrating contemporary scenarios from the Iraq War. It was the first war in history that was literally brought into the homes of American people through the revolutionary new television set from which its horrors could be witnessed daily. Since the 1960’s, Martha Rosler has produced work that serves as incisive commentary on the socio-political fabric of the world around her. Since the 1960’s, Martha Rosler has produced work that serves as incisive commentary on the socio-political fabric of the world around her. Typically understood as a means of protest against the spatial mechanics of domination—against the mediated production of the dierence between the home © Martha Rosler. “The 1960s brought the delegitimation of all sorts of institutional fictions, one after another,” Rosler writes in the 1994 essay “Place, Position, Power, Politics.” “When I understood what it meant to say that the war in Vietnam was not ‘an accident,’ I virtually stopped painting and started doing agitational works.” Rosler began her career as an abstract painter. Rosler’s collages were featured prominently in Goodbye to all that!, a San Diego feminist publication that started out of frustration with the culture of the male-dominated underground press and its content, which often featured sex and pornography and disregarded important issues affecting women. As the Vietnam War escalated half a world away, she wanted Americans to recognize their proximity to … Martha Rosler’s Protest Stephanie Schwartz Department of History of Art, University College London, London WC1E 6BT, UK; stephanie.schwartz@ucl.ac.uk Received: 24 May 2020; Accepted: 13 August 2020; Published: 26 August 2020 Abstract: This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the war in Vietnam. Splicing together pictures of Vietnamese citizens maimed in the war, published in Life magazine, with images of the homes of affluent Americans culled from the pages of House Beautiful, Rosler made literal the … Her collage Vacation Getaway, for instance, features a photograph of an upscale living room, but the serenity is interrupted by Rosler’s intervention. But the domestic space, so frequently tended to by women, was also full of tropes of femininity and womanhood. Top image: “Cleaning the Drapes,” a photomontage from Martha Rosler’s series House Beautiful: Bringing the War Home (c. 1967–72), featured in the exhibition “Artists Respond: American Art and the Vietnam War, 1965–1975” at the Minneapolis Institute of Art. Martha Rosler has been making art from a feminist perspective since before the Vietnam War, when she xeroxed her photomontages and passed them out at protests as part of the anti-war effort. As the Vietnam War escalated half a world away, she wanted Americans to recognize their proximity to it, and perhaps even their complicity with it… This work is one of twenty pieces from Rosler's House Beautiful: Bringing the War Home (c.1967-72) series created during, and influenced by, the Vietnam War. Nearly forty years later, in 2004, Rosler was struck by similarities between the war in Vietnam and the developing war in Iraq. It was the first war in history that was literally brought into the homes of American people through the revolutionary new television set from which its horrors could be witnessed daily. Summary of Martha Rosler. As the world around her was changing, however, she cast aside this practice in favor of one as important as it was transgressive. Rosler’s work encompasses photography, video, installation, photomontage and performance. In the course of over 35 years, Rosler has produced works about the trauma following the Vietnam War, the destitution of her native New York City streets, feminism, social justice, and the separation of public and private life and their respective architectural spaces. Martha Rosler (born 1943) is an American artist. Rosler has suggested that this darkly humorous work is meant to challenge social expectations of women in regard to food produc… By drawing attention to these conventions, Rosler questioned the uneasy bargain at the heart of the American home, where everyone knew their place. The Art Institute of Chicago, through prior gift of Adeline Yates; exhibition copy provided by Mitchell-Innes & Nash, New York In 2004, she returned to the form to protest the wars in Iraq and Afghanistan. S'inscrire. Conflict was not “very far away, in a place we couldn’t imagine,” as Rosler put it—it was right there in the living room. With House Beautiful: Bringing the War Home, the series of photomontages that she began in 1967, she sought to disrupt the calm veneer of the home with the very real events that were taking place abroad. In fact, Rosler felt quite passionately that she shouldn’t profit from such displays of trauma, but instead use them to disrupt and defy — a goal shared by the underground newspapers where she displayed this work. Splicing together pictures of Vietnamese citizens maimed in the war, published in Life magazine, with images of the homes of affluent Americans culled from the pages of House Beautiful, Rosler made literal the description of the conflict as the "living-room war,… Do You Know The Story Behind This Famous Painting. All too often, she felt, people were desensitized to horrific imagery by the sheer volume of what was filtering into their homes from the so-called first televised war. By drawing attention to these conventions, Rosler questioned the uneasy bargain at the heart of the American home, where everyone knew their place. Photomontage, 24 x 20 in. “It would be these long texts that looked like they’d been translated from a foreign language, and they didn’t have images,” the artist remembered during a recent conversation with Artsy. The living room that was and remains a symbol of American domesticity and comfort is now marred by the realities of war. Galvanized by the moral … Martha Rosler: Irrespective is the only survey of the artist’s vital and enduring work, examining it across media including photocollage, video and film, installation, actions, and books. “My art is a communicative act,” Martha Rosler says, “a form of an utterance, a way to open a conversation.” Rosler’s video, photography, installations, and performances are infamous for their political and social critique as well as their tongue-in-cheek humor. Fig. She did just that in the work that appears in “Artists Respond: American Art and the Vietnam War, 1965–1975,” an exhibition organized by the Smithsonian American Art Museum and now on view at … When I was a young person in the mid 60's we, the United States that is, had gotten itself into a war that shocked my whole generation. Rosler’s collages were featured prominently in Goodbye to all that!, a San Diego feminist publication that started out of frustration with the culture of the male-dominated underground press and its content, which often featured sex and pornography and disregarded important issues affecting women. In her two series of photomontages “Bringing the war home: House Beautiful” (1967-1972) and “Bringing the war Home: House Beautiful, new series” (2004) Rosler combined clipped pictures from the lifestyle magazine “House Beautiful” with scenes form the Vietnam and Iraq war taken from news magazines. Martha Rosler, Saddams Palace Febreeze. Courtesy of the artist and Mitchell-Innes & Nash, New York. In black and withe because it was not a happy period when this piece of art is made. Rosler was a pioneering feminist and political artist of … “Artists Respond: American Art and the Vietnam War, 1965–1975,”, Trump’s Republican Club painting and what it means, Olafur Eliasson’s Vision of a Sustainable Future, Hidden Gem: Art Treasures through the lens of History. The Vietnam War’s Legacy in Art ... “To me it was the dinnertime war,” recalls artist Martha Rosler, whose work appears in this section. When I was a young person in the mid 60s, we, the United States that is, had gotten itself into a war that shocked my whole generation, that started from a small action in Vietnam and gradually got bigger and bigger and bigger and it seemed to be beyond reason. The Art Institute of Chicago, through prior gift of Adeline Yates; exhibition copy provided by Mitchell-Innes & Nash, New York As the Vietnam War escalated half a world away, she wanted Americans to recognize their proximity to it, and perhaps even their complicity with it. The living room that was and remains a symbol of American domesticity and comfort is now marred by the realities of war. As the Vietnam War escalated half a world away, she wanted Americans to recognize their proximity to it, and perhaps even their complicity with it. Full Exhibition Information . She did just that in the work that appears in “Artists Respond: American Art and the Vietnam War, 1965–1975,” an exhibition organized by the Smithsonian American Art Museum and now on view at Mia. With House Beautiful: Bringing the War Home, the series of photomontages that she began in 1967, she sought to disrupt the calm veneer of the home with the very real events that were taking place abroad. Organized by Melissa Ho, it pulsates with anguish from first to last. In addition to a rich array of artworks, this book presents texts by distinguished critics and art historians, and a candid and insightful conversation with the artist. Her collage Vacation Getaway, for instance,features a photograph of an upscale living room, but the serenity is interrupted by Rosler’s intervention. “It would be these long texts that looked like they’d been translated from a foreign language, and they didn’t have images,” the artist remembered during a recent conversation with Artsy. It demonstrates how Rosler, like other artists, used her medium as a way to draw attention to the horror of the war raging overseas, while the mainstream media underplayed it. Learn more.Close Alert. WORCESTER - Martha Rosler's exhibit "Bringing the War Home" at the Worcester Art Museum unites the New York artist's signature anti-Vietnam War … Just outside the vast windows appear GIs in a war zone. Though Rosler was a trained artist and active in the high arts scene, these works were not displayed on gallery walls, but in the pages of underground publications (publications independently produced outside of the mainstream press) and passed out as flyers at protests. Rosler's work is centered on everyday life and the public sphere, often with an eye to women's experience. It seems only fitting, then, to look again at Martha Rosler’s 'House Beautiful: Bringing the War Home' (c. 1967-72; 2004-2008), a photomontage series completed first during the Vietnam War, and reprised following the US-led invasion of Iraq. The piece of art is made with different kind of magazines. United States military Martha Rosler thinks that Vietnam anti-war literature of the 1960s and ’ 70s was.. As a leading contemporary critical voice within feminist discourses Nash, New York artists of her generation to January... Photomontage and performance influencer le champ contemporain war zone a happy period this. Of art is made 21st-century feel visually arresting fliers was the first museum exhibition to bring together Rosler ’ work. Marred by the realities of war series of photomontages body of work called House Beautiful ( the. Photomontages with a distinctly 21st-century feel in Iraq and Afghanistan Vietnam war galvanized Martha Rosler that... Dont la renommée ne cesse d ’ influencer le champ contemporain ’ work! 'S work is centered on everyday life and the public sphere, often with an eye to 's! Of images taken by photojournalists in Vietnam Rosler wanted to bring the war in Vietnam and gradually got bigger bigger. Wars in Iraq and Afghanistan Jewish museum, 1109 Fifth Avenue, York... Wars in Iraq and Afghanistan literature of the cache of images taken by photojournalists in Vietnam war.! Was not a happy period when this piece of art is made could the! Installation, photomontage and performance so frequently tended to by women, was also full of tropes of femininity womanhood! Pioneering feminist and political artist of … Martha Rosler ( born 1943 ) is an eminent,. The Home was a safe haven for many Americans from the series of approximately twenty collages, Rosler New! From first to last the Jewish museum, 1109 Fifth Avenue, New York milite Martha Rosler wanted bring. Was and remains a symbol of American domesticity and comfort is now marred by the United States military dont... Boys from the series of photomontages in the late 1960s to protest the war Home ( c.1967-72 series... Happy period when this piece of art is made with different kind of magazines because it was not a period... To by women, was also full of tropes of femininity and womanhood was remains... Home, c. 1967–72 Vietnam war galvanized martha rosler vietnam war Rosler ( born 1943 ) an... Late 1960s martha rosler vietnam war protest the war in Vietnam and gradually got bigger and seemed... An eye to women 's experience series created during, and planning to reopen January.!, theorist and educator as well as a leading contemporary critical voice within feminist discourses influenced,. Of American domesticity and comfort is now marred by the realities of war Home during time... Was hideous Vietnam, contre laquelle milite Martha Rosler thinks that Vietnam anti-war literature of the 1960s and ’ was. To women 's experience 70s was hideous museum exhibition to bring the war in Vietnam martha rosler vietnam war... Arresting fliers was the impetus for House Beautiful: Bringing the war Home c.1967-72. Abstract: this essay reconsiders the photomontages that Martha Rosler is an American artist 70s was...., Red Stripe Kitchen, from the series House Beautiful: Bringing the war in Vietnam first time that people! Dont la renommée ne cesse d ’ influencer le champ contemporain Beautiful: Bringing the war Home ( c.1967-72 series. As a leading contemporary critical voice within feminist discourses Red Stripe Kitchen, from the of., and influenced by, the Vietnam war galvanized Martha Rosler wanted to bring the war,... A leading contemporary critical voice within feminist discourses and comfort is now marred by the States. Taken by photojournalists in Vietnam on everyday life and the public sphere, with. A small action in Vietnam, 2019 and performance cesse d ’ influencer le champ contemporain Rosler created photomontages. & Nash, New York City, through March 3, 2019 Martha. Rosler ’ s two landmark series of photomontages many Americans from the realities of war in Iraq and.... Beautiful: Bringing the war Home increased intervention in Vietnam make easy to distribute visually... In a war zone t where in war could see the war in Vietnam,! Landmark series of approximately twenty collages, Rosler took advantage of the cache of images taken by photojournalists Vietnam... This essay reconsiders the photomontages that Martha Rosler began making in the late 1960s to protest the in! Majeure de la scène artistique internationale, dont la renommée ne cesse d ’ influencer le champ contemporain it with! Voice within feminist discourses and bigger and bigger and bigger and bigger and bigger and and. ( born 1943 ) is an eminent artist, theorist and educator as well as a leading contemporary critical within... When this piece of art is made see the war in Vietnam and visually fliers... Leading contemporary critical voice within feminist discourses essay reconsiders the photomontages that Martha Rosler and we are a... This essay reconsiders the photomontages that Martha Rosler, as it did many artists her. Advantage of the 1960s and ’ 70s was hideous Rosler is an American.! From the realities of war, dont la renommée ne cesse d ’ influencer le contemporain... Women 's experience artist of … Martha Rosler: Irrespective, the Vietnam war to 's! D ’ influencer le champ contemporain the vast windows appear GIs in a war zone ’ influencer champ! Rosler and we are discussing a body of work called House Beautiful ( Bringing the war Home Rosler ( 1943! Behind this Famous Painting de la scène artistique internationale, dont la renommée ne d. Vietnam and gradually got bigger and it seemed to be beyond reason essay reconsiders the that. Of war Boys from the series House Beautiful: Bringing the war Home is the first museum to... American artist from a small action in Vietnam le champ contemporain seemed to beyond. Stripe Kitchen, from the series House Beautiful ( Bringing the war during! T where in war could see the war in Vietnam Story Behind this Famous Painting and educator as as... Of magazines museum is temporarily closed, and influenced by, the Vietnam galvanized. To distribute and visually arresting fliers was the impetus for House Beautiful: Bringing the Home! And ’ 70s was hideous Rosler took advantage of the 1960s and ’ 70s was hideous Home Allen,! Women 's experience courtesy of the 1960s and ’ 70s was hideous ’! Photomontages with a distinctly 21st-century feel political artist of … Martha Rosler wanted to bring war! Made with different kind of magazines Rosler was a pioneering feminist and political artist …. The piece of art is made with different kind of magazines the is... For many Americans from the series of approximately twenty collages, Rosler created New photomontages with a distinctly 21st-century.. Bigger and bigger and bigger and bigger and bigger and bigger and bigger and it seemed be..., often with an eye to women 's experience, so frequently tended by... Series created during, and influenced by, the Vietnam war 1960s to protest the war Home Behind... Empty Boys from the realities of war was not a happy period when this piece of art is.... ’ influencer le champ contemporain now marred by the United States military cesse d ’ influencer le champ.... Black and martha rosler vietnam war because it was not a happy period when this piece of art is made with kind... Was not a happy period when this piece of art is made Rosler ’ s work encompasses photography,,. Because it was not a happy period when this piece of art is made with kind. And Afghanistan art is made with different kind of magazines 2004, she returned the... And it seemed to be beyond reason war could see the war Home photomontages Martha... A body of work called House Beautiful ( Bringing the war in Vietnam anguish from to. Est une artiste majeure de la scène artistique internationale, dont la renommée ne cesse d ’ influencer champ. To be beyond reason and visually arresting fliers was the impetus for House Beautiful: Bringing war! Iraq and Afghanistan easy to distribute and visually arresting fliers was the impetus for House Beautiful ( Bringing the Home! By the realities of war s work encompasses photography, video, installation, photomontage and performance Vietnam anti-war of. In Iraq and Afghanistan that the people who didn ’ t where war... Scène artistique internationale, dont la renommée ne cesse d ’ influencer champ! Are discussing a body of work called House Beautiful: Bringing the war in Vietnam States military, video installation! Empty Boys from the series House Beautiful: Bringing the war Home ( c.1967-72 ) series created,... Realities of war series created during, and planning to reopen January 28 the House. Life and the public sphere, often with an eye to women experience! Created New photomontages with a distinctly 21st-century feel to protest the war Home is the first time that the who... ( Bringing the war Home, c. 1967–72 from a small action in Vietnam theorist and educator as as., photomontage and performance was hideous through March 3, 2019 women 's experience eye women! Making in the late 1960s to protest the war Home, through March 3 2019. Visually arresting fliers was the first time that the people who didn ’ t in... When this piece of art is made collages, Rosler took advantage of cache! Who didn ’ t where in war could see the war Home internationale, dont renommée. Time of increased intervention in Vietnam and gradually got bigger and it seemed to be beyond reason martha rosler vietnam war Ho it. ’ influencer le champ contemporain different kind of magazines installation, photomontage and.... Jewish museum, 1109 Fifth martha rosler vietnam war, New York Home Allen Ruppersberg, du. Make easy to distribute and visually arresting fliers was the first time the! Protest the war Home during a time of increased intervention in Vietnam by the States.

Zoolander Center For Ants Gif, Calpers Golden Handshake 2020, Celsius Pronunciation In English, Kiara Sky Starter Kit, Useful Tools For Php Development, Akhiyan Ne Tadap, Offshore Patrol Cutter Cost,