mary kelly - Postmasters Gallery

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P OSTMASTERS GALLERY 459 west 19th Street New York, NY 10011 212-727-3323 www.postmastersart.com [email protected]

MARY KEL LY Studied at St. Martin’s School of Art in London. Currently lives and works in Los Angeles. Selected solo exhibitions: Museo Universitario de Ciencias y Arte, Mexico City, 2004; Generali Foundation, Vienna, 1998; New Museum of Contemporary Art, New York, 1990; Helsinki City Art Museum,1994; Museum of Modern Art, Oxford,1977. Selected group exhibitions: Occupying Space, Haus der Kunst, Munich; NowHere, Louisiana Museum of Modern Art, Denmark; Global Conceptualism, Walker Arts Center, Minneapolis and Queens Museum of Art, New York; 1991 Biennial and 2004 Biennial, Whitney Museum of American Art; 4th Biennial of Sydney, Gallery of New South Wales; Un Certain Art Anglais, Musee d'Art Moderne de la Ville de Paris; La Memoire, Academie de France a Rome; Nude/Body/Action, Tate Modern, London; The American Century 1950-2000, Whitney Museum of American Art, New York. Publications by the artist: Post-Partum Document, Generali Foundation , Vienna and University of California Press, 1998; Imaging Desire, MIT Press, 1996.

Publications on the artist: Mary Kelly, Phaidon Press, London, 1997; Rereading Post-Partum Document, Generali Foundation, Vienna, 1999.

Biography – long version CONTENTS: Education

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Awards

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Major Collections

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Exhibitions - One Person

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Exhibitions - Group

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Publications - By the Artist

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Publications - On the Artist

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Reviews of Published Works

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Academic and Professional Service

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Academic Positions

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Other Teaching Activities

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Public Lectures, Conferences, Seminars

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Mary Kelly Born 1941 EDUCATION 1968 - 70 1963 - 65 1959 - 63

St. Martin's School of Art, London, Postgraduate Diploma Pius XII Institute, Florence, Italy, MA College of Saint Teresa, Winona, Minnesota, BA

AWARDS 2004 2001 1998 1987 1985 - 86 1980 1979 1978 1977 1973

Honorary Doctor of Arts, University of Wolverhampton, England Council on Research Award, University of California, Los Angeles Council on Research Award, University of California, Los Angeles National Endowment for the Arts Visual Arts Fellowship Artist-in-Residence, New Hall College, Cambridge University Greater London Arts Association Visual Arts Award Hans Jorgen Muller Award, Europa 79, Stuttgart Lina Garnade Memorial Foundation Award Arts Council of Great Britain Visual Arts Award Greater London Arts Association Fellowship

MAJOR COLLECTIONS Kunsthaus Zurich Whitney Museum of American Art, New York Spencer Museum of Art, Kansas Norton Family Foundation, Santa Monica Museum of Contemporary Art, Chicago Arts Council of Great Britain Victoria and Albert Museum, London Australian National Gallery Tate Britain, London Tate Modern, London New Hall, Cambridge University Art Gallery of Ontario Vancouver Art Gallery New Museum of Contemporary Art, New York City Mackenzie Art Gallery, Regina Progressive Corporation Weil, Gotshal and Manges Collection Helsinki City Art Museum Generali Foundation, Vienna Oak Brook Bank, Illinois Rachofsky House, Dallas Marieluise Hessel Collection, Bard College, New York Colorado University Art Museum

EXHIBITIONS - ONE PERSON 2005

Postmasters Gallery, New York 3

2004

Museo Universitario de Ciencias y Arte, Mexico City Installation, live performance and interactive archive, curated by Trisha Ziff (catalog)

2002

The Arthur A. Houghton Gallery, The Cooper Union, New York City Rosamund Felsen, Los Angeles

2001

The Ballad of Kastriot Rexhepi, musical score for the installation by Michael Nyman; live performance by Sarah Leonard and The Nyman Quartet, Santa Monica Museum of Art (catalog). Robert Sandelson, London.

2000

Social Process / Collaborative Action: Mary Kelly 1970-75, Norwich Gallery and Leeds City Art Gallery, England (catalog).

1999

Postmasters Gallery, New York.

1998

Post-Partum Document, The Complete Work 1973-79, curated by Sabine Breitweiser, and The Mary Kelly Archive, curated by Juli Carson, The Generali Foundation, Wien (catalog). The Edmonton Art Gallery, Edmonton, Alberta, Canada.

1997

galerie paula bottcher, Berlin. Social Process/Collaborative Action: Mary Kelly 1970-75, curated by Judith Mastai, Charles H. Scott Gallery, Vancouver, and Agnes Etherington Art Center, Queen's University, Kingston, Ontario (catalog). Postmasters Gallery, New York. Knoll Gallery, Budapest.

1996

Knoll Gallery, Vienna. Konstmuseet, Mälmo. Postmasters Gallery, New York.

1994

Helsinki City Art Museum, Finland. Uppsala Konstmuseum, Sweden. Mary Kelly, survey 1973-89, curated by Gertrud Sandquist, Galleri F 15, Alby, Norway (catalog).

1993

Institute of Contemporary Art, London. Contemporary Art Gallery, Vancouver. Milwaukee Art Museum, University of Wisconsin. Postmasters Gallery, New York.

1992

Gloria Patri, Ezra and Cecile Zilkha Gallery, Wesleyan University (catalog). Herbert F. Johnson Museum of Art, Cornell University. Mackenzie Art Gallery, Regina.

1991

Knoll Gallery, Budapest. 4

Knoll Gallery, Vienna. The Powerplant, Toronto. 1990

Interim, The Complete Work 1984-89, New Museum of Contemporary Art, New York (catalog). Vancouver Art Gallery.

1989

Postmasters Gallery, New York. C.E.P.A., Buffalo. Todd Madigan Gallery, California State University.

1988

Henry McNeil, Philadelphia. LACE, Los Angeles. Galerie Powerhouse, Montreal.

1986

A Space, Toronto. Kettles Yard, Cambridge University. Riverside Studios, London.

1985

Interim, Part I: Corpus, The Fruitmarket Gallery, Edinburgh (catalog).

1982

George Paton Gallery, Melbourne. University Art Museum, Brisbane.

1981

Anna Leonowens Gallery, Halifax.

1979

University Gallery, Leeds. New 57 Gallery, Edinburgh.

1977

Post-Partum Document, I-V, Museum of Modern Art, Oxford (catalog).

1976

Post-Partum Document, I-III, Institute of Contemporary Art, London (catalog).

1975

Women and Work: A Document on the Division of Labor in Industry, South London Art Gallery (catalog).

1970

An Earthwork Performed, New Arts Laboratory, London.

EXHIBITIONS - GROUP 2005

Occupying Space: Generali Foundation Collection, Haus der Kunst, Munich; Museum Borjmans van Beuningen, Nederlands Fotomuseum and Witte de with, Rotterdam Selected Works From The Collection, Colorado University Art Museum Work/Labor, curated by Silvia Eiblmayr, Galerie in Taxipalais, Tirol, Austria; Centroa Andaluz de Arte Contemporanea, Sevilla, Spain 5

At the Mercy of Others, The Art Gallery of The Graduate Center, City University of New York Family, The Photographers’ Gallery, London Mixed-up Childhood, Auckland City Art Gallery, Toi o Tamaki, New Zealand 2004

2004 Biennial, curated by Debra Singer, Shamim Momin, Chrissie Iles, Whitney Museum of American Art, New York 100 Artists See God, curated by John Baldessari and Meg Cranston, Naples Museum of Art, Florida; The Jewish Museum, San Francisco, California; Laguna Art Museum, California; Institute of Contemporary Art, London (2005); Contemporary Art Center of Virginia (2005) A Perfect Day for Bananafish, Postmasters Gallery, new York Maternal Metaphors, The Rochester Contemporary Dass die Körper sprechen, auch das wissen wir seit, Generali Foundation, Vienna The Shadow of Production, Vancouver Art Gallery Postmasters Gallery, Miami Basil Art Fair, Miami

2003

Identität schreiben. Autobiographie in der Kunst, curated by Hemma Schmutz, Galerie Fűr Zeitgenossische, Leipzig Social Strategies: Redefining Social Realism, curated by Pamela Auchingeloss and Klaus Ottmann, University Art Museum, University of California, Santa Barbara; University Galleries, Illinois State University, Normal; DePauw University Art Gallery, Greencastle, Indiana Mary Kelly, “Antepartum,” Works from the Permanent Collection, Whitney Museum of American Art, New York Crimes and Misdemeanors: Politics in U.S. Art of the 1980’s, Contemporary Arts Center, Cincinnati Intimates, Angles Gallery, Los Angeles A Century of Artists’ Film in Britain, Tate Britain

2002

Gloria: Another Look at Feminist Art of the 1970’s, White Columns, New York; The Galleries, Moore College of Art and Design; Museum of Art, Rhode Island School of Design Self Evident: The Artist as the Subject, Tate Britain, London On General Release: Artists and Film in Britain, 1968-1972, curated by Lynda Morris and David Curtis, Norwich Gallery, Norwich School of Art and Design; John Hansard Gallery, The University, Highfield Southampton; George Rodger Gallery, KIAD, Maidstone; Institute of Visual Culture, Cambridge Fetish: Art and the Word, UCLA Fowler Museum

2001

Recent Acquisitions: Photograph Works, Vancouver Art Gallery Works From the Collection (including Hans Haacke, Valie Export, Dan Graham, Gordon MattaClark), Generali Foundation, Vienna Visual Worlds, Andrea Fraser, Mary Kelly, Shirin Neshat, ® Gallery, University of California, Davis

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ark, Allan Sekula, Richard L. Nelson 6

The Presence of Absence, Ezra and Cecile Zilka Gallery, Wesleyan University Camera Women, curated by Carol Armstrong, Princeton University Art Museum. 2000

Die verletzte Diva, curated by Silvia Eiblmayr, Galerie im Taxispalais, Innsbruck, Kunstverein, Munich, Siemens Kulturprogramm, Städtische Galerie, Munich, Staatliche Kunsthalle, Baden-Baden Tempus Fugit, curated by Jan Schall, Nelson-Atkins Museum of Art, Kansas City. Around 1984, curated by Carolyn Christov-Bakargiev, P.S.I. Contemporary Art Center, New York. Carnival in the Eye of the Storm, Phillip Feldman Gallery, Pacific Northwest College of Art, Portland Dairy, Cornerhouse, Manchester, Firstsite and The Minories Art Gallery, Colchester Les Semiophores, curated by Philippe Mouillon, Façade of the Town Hall, Lyon, France Nude / Body / Action, curated by Iwona Blazwick, The Tate Modern, London. Snapshot, The Contemporary Museum, Baltimore. Minimal Politics: Hans Haacke, Mary Kelly, (Mea Culpa: The Complete Work), Robert Morris, Adrian Piper, Yvonne Rainer, Cleveland Center for Contemporary Art. Live in Your Head: Concept and Experiment in Britain 1965-75, Whitechapel Gallery, London; Museu Do Chiado, Lisbon (2001) Artworkers (including Carl Andre, Robert Morris, Jim Iserman), Newlyn Art Gallery, Penzance, and Oriel Mostyn Gallery, Llandudno, Wales.

1999

Einbliche in Die Sammlung, Generali Foundation, Vienna Pencils of Nature: A Dialogue, Leslie Tonkonow Artworks + Projects, New York The American Century: Arts & Culture 1900-2000 Part II, 1950-2000, Whitney Museum of American Art, New York Global Conceptualism: Points of Origin 1950s - 1980s, Queens Museum of Art, New York, and The Walker Art Center, Minneapolis, MIT Visual Arts Center, Boston (2000). La Mémoire, curated by Carolyn Christov-Bakargiev, Hans Ulrich Obrist, Laurence Bossé, Academie de France, Rome. Xmas Xhibition, curated by Andrea Frank, New York, Kent Gallery. Sotheby's 8th Biennial Exhibition and Auction, Museum of Contemporary Art, Los Angeles.

1998

Addressing the Century: 100 Years of Art and Fashion, curated by Peter Wollen, Hayward Gallery, London. Works from the Permanent Collection, curated by John Pultz, The Spencer Museum, Kansas University. Works from the Permanent Collection, curated by Elizabeth Sussman and Eugene Tsai, Whitney Museum of American Art,. 1950 Gallery, Independent Curators Incorporated Biennial, New York. 7

Sculpture Urbaine, Grenoble, Pacaembu Stadium Facade Project, Sao Paolo, Brazil. The Older Body, Santa Barbara Contemporary Arts Forum, Santa Barbara, CA. Heaven - Private View, P.S.1 Contemporary Art Center, Long Island City, NY. 1997

Critical Images, Leslie Tonkonow Artworks + Projects, New York. Minimal Politics: Hans Haacke, Mary Kelly, Robert Morris, Adrian Piper, Yvonne Rainer, Fine Arts Gallery, curated by Maurice Berger, University of Maryland. A Gift for India, Safdar Hashmi Memorial Trust, New Delhi, India. Ten Years of Collecting: 1987 – 1997, MacKenzie Art Gallery, Manitoba, Canada.

1996

Making Pictures: Women and Photography, Part II, Nicole Klagsbrun Gallery, New York. Baby Exhibition, Part I, 1708 Gallery, Virginia Beach Center for the Arts, Florida, and Hand Workshop Art Center, Richmond, Virginia. NowHere, Louisiana Museum of Modern Art, Denmark. Body as Membrane, Kunsthallen Brandts Klaedefabrik, Odense. Documents, Louisiana Museum of Modern Art, Denmark. Sexual Politics, Armand Hammer Museum of Art and Cultural Center, Los Angeles. Laughter Ten Years After, Fine Arts Gallery, University of Maryland, Baltimore County, and Institute of Contemporary Art, Philadelphia.

1995

Temporarily Possessed, The New Museum of Contemporary Art, New York. The Division of Labour: Women and Work, Museum of Contemporary of Art, Los Angeles and The Bronx Museum, New York. Social Strategies in the 1970's,The Tate Gallery, London. Desiring Authors, Enveloping Myths, Bernard Toale Gallery, Boston. Works by Artists in the New Museum Semi-Permanent Collection, Salon of Rebecca Cooper, New York. Anti-Slogans, Cairn Gallery, Nailsworth, Gloucestershire. Laughter Ten Years After, The Zilkha Gallery, Wesleyan University, Middleton, and Houghton House Gallery, Hobart and William Smith Colleges, Geneva. Auf den Leib Geschrieben, Kunsthalle, Wien. Ciphers of Identity, Art Museum, University of Southern Florida, Tampa. The Masculine Masquerade, MIT List Visual Arts Center, Cambridge.

1994

Written/Spoken/Drawn in Lacanian Ink, Thread Waxing Space, New York. Nine Months, Howard Yezerski Gallery, Boston. Ciphers of Identity, Ronald Feldman Fine Arts, New York. 8

Mistaken Identities, Western Gallery, Western Washington University, Bellingham. Voicing Today's Visions, Mary Delahoyd Gallery, New York. One Hundred Hearts Benefit, The Contemporary, New York. 1993

Camera Politic, curated by Carlo Frua and Joyce Nereaux, New York, Tour: The Pittsburgh Center for the Arts, Pittsburgh, Pennsylvania, La Sala Mendoza, Caracas, Venezuela, The Contemporary Arts Center, Cincinnati, Ohio, Mendel Art Gallery, Saskatoon, Saskatchewan. Empty Dress, Independent Curators Incorporated, New York. Tour: Neuberger Museum, Purchase, New York, Virginia Beach Center for the Arts, University Gallery, University of North Texas, Mackenzie Art Gallery, Ontario, Canada, The Gallery/Stratford, Ontario, Canada, Selby Gallery, Ringling School of Art & Design. I am the Enunciator, Threadwaxing Space, New York. Songs of Retribution, Richard Anderson Gallery, New York, N.Y. Abjection in American Art, Whitney Museum of American Art. Summer Exhibition, invited artist, Royal Academy, London. Contacts/Proofs, Jersey City Museum. Ciphers of Identity, Fine Arts Gallery, University of Maryland, Baltimore County. Benefit Exhibition, New Museum of Contemporary Art. Benefit Exhibition, Blast Magazine, New York. Benefit Exhibition, Contemporary Art Gallery, Vancouver.

1992

Mis/taken Identities, University Art Museum, Santa Barbara. Tour: Museum Folkwang, Essen, Germany, Forum Stadtpark, Graz, Austria, Neues Museum Weserburgh Bremen im Forum Langenstrasse, Bremen, Germany, Louisiana Museum of Modern Art, Humblebaek, Denmark. The Spatial Drive, Blast, Contributor, New Museum of Contemporary Art. Cross Section, The World Financial Center, N.Y.C. So Order So Nicht Sein, Forum Stadtpark, Graz, Austria. Effected Desire, Carnegie Museum of Art. Women’s Art at New Hall, New Hall, University of Cambridge.

1991

Works from the Permanent Collection, Vancouver Art Gallery. 1991 Biennial, Whitney Museum of American Art. The Realm of the Coin, Hofstra University. Gender and Representation, Zoller Gallery, Pennsylvania University. Shocks to the System, The South Bank Centre, London. Tour: Northern Centre for Contemporary Art, Switzerland; Towner Art Gallery, Eastbourne; Royal Albert Memorial Museum, Exeter; Ikon Gallery, Birmingham; City Museum Plymouth; Maclaurin Art Gallery, Ayre. 9

1990

Inquiries-Language in Art, Art Gallery of Ontario, Toronto, Canada. Tour: McMaster University Art Gallery, Hamilton, Thunder Bay Art Gallery, Thunder Bay, Laurentian University Museum and Arts Center, Sudbury, Rodman Hall Arts Center, St. Catherines. The Decade Show, Museum of Contemporary Hispanic Art, and The New Museum of Contemporary Art, New York. Word as Image-American Art 1960-1990, Milwaukee Art Museum. Tour: Oklahoma City Art Museum; Contemporary Arts Museum, Houston. In Her Image, Barbara Toll Fine Art, New York.

1989

Fashioning Feminine Identities, University Gallery, Essex.

1988

Modes of Address, Whitney Museum of American Art Downtown, New York. Mixed Meaning, Grossman Gallery, School of the Museum of Fine Art, Boston.

1987

Conceptual Clothing, Ikon Gallery, Birmingham. Tour: Harris Museum & Art Gallery, Preston; Peterborough City Museum and Art Gallery; Aberdeen Art Gallery; Spacex Gallery Exeter; Camden Arts Center, London, Institute of Contemporary Art, London, State of the Art, Tour: The Laing Art Gallery, Newcastle. The British Edge, Institute of Contemporary Art, Boston. Propositions: Work from the Permanent Collection, Art Gallery of Ontario, Toronto. Aspects of Voyeurism, Whitney Museum of American Art at Phillip Morris, New York. Group show, Postmasters Gallery, New York. State of the Art (exhibition, book, and television series), Institute of Contemporary Art, London.

1986

The Fairy Tale: Politics, Desire and Everyday Life, Artist's Space, New York. Identity/Desire: Representing the Body, Collins Gallery, University of Strathclyde, Glasgow. Tour: Crawford Center for the Arts, St. Andrews; McLaurin Art Gallery. Electro-media, Public Access Project, Toronto.

1985

Difference, curated by Katherine Linker, The New Museum of Contemporary Art, New York. Tour: The Renaissance Society; University of Chicago, Massachusetts Institute of Technology, Boston; Institute of Contemporary Art, London.

1984

The Critical Eye/I, Yale Center for British Art, New Haven (Mary Kelly, the complete Post-Partum Document), Victor Burgin, Richard Long, Bruce McLean, David Tremlet. The British Art Show, City of Birmingham Museum and Art Gallery . Tour: Ikon Gallery, Birmingham; Royal Scottish Academy, Edinburgh; Mappin Art Gallery, Sheffield; Southhampton Art Gallery.

1983 1982

The Revolutionary Power of Woman's Laughter, Protetch-McNeil, New York. Tour: Art Culture Resource Center, Toronto; Washington College Art Gallery, Maryland. The 4th Biennale of Sydney, Gallery of New South Wales, Sydney. Sense and Sensibility, Midland Group Gallery, Nottingham.

1981

Typisch Frau, Bonner Kunstverein and Gallery Magers, Bonn, Germany. 10

9th Kracow Meetings, Biuro Wystaw Artystycznych, Kracow. Touring Exhibition, Greater London Arts Association. 1980

Issue, curated by Lucy Lippard, Institute of Contemporary Art, London.

1979

Un Certain Art Anglais, ARCII, Museum d'Art Moderne de la Ville de Paris. Europa '79, Heztler, Muller & Schurr, Stuttgart. Feministische Kunst Internationaal, Haags Gemeentemuseum, The Hague. Tour: de Oosterpoort, Groningen; Nooedbrabants Museum, Den Bosch; de Vleeshal, Middleburgh; Le Vest, Alkmar; de Beyerd, Buda; Nijmeegs Museum, Nijmegen. Both Sides Now, Artmesia Gallery, Chicago. Verbiage, Kettles Yard, University of Cambridge. Politics, & Ideology, Dartington College of Art, Art.

1978

Art for Society, Whitechapel Art Gallery, London and Ulster Museum, Belfast. The Hayward Annual, The Hayward Gallery, London.

1977

Radical Attitudes to the Gallery, Art Net, London.

1975

Sexuality and Socialization, Northern Arts Gallery, Newcastle. Independent Filmmakers Festival, Arnolfini Gallery, Bristol.

1974

Women's Workshop/Artists Union, Arts Meeting Place, London

1970

Group Exhibition, St. Martin's School of Art Gallery, London.

PUBLICATIONS - BY THE ARTIST 2005

”Circa 1968,” Artists Project, InterReview, Los Angeles “Notes on Gesture, Medium and Mediation,” Museums After Modernism, ed. Griseda Pollock, Blackwell Publishers, London “The Ballad of Kastriot Rexhepi,” Women Artists at the Millennium, ed. Carol Armstrong, MIT Press, Cambridge “Mary Kelly,” Museums of Tomorrow: an Internet Discussion, ed. Maurice Berger, Issues in Cultural Theory 8, The Georgia O’Keeffe Museum Research Center and The Center for Art and Visual Culture, University of Maryland, DAP Distributors “Mea Culpa: On Residual Culture and The Turn to Ethics,” Visual Worlds, ed. David Hall, Routledge, London and New York

2004

“Beneath the Paving Stones, the Beach,” Artist’s Template, Whitney Biennial 2004, Museum of American Art, New York, Distributed by Harry N. Abrams, New York Art of the Twentieth Century, Course Reader, The Open University, Milton Keynes, England 11

2003

Something Like a Bridge: A Conversation on the Occasion of “Gloria: Another Look at Feminist Art in the 1970’s,” Participants: Leslie Dick, Sharon Hayes, Mary Kelly, Kerry Tribe, Xtra, Vol. 5, No. 3, Los Angeles “Desiring Images/Imaging Desire,” The Feminism and Visual Culture Reader, Amelia Jones, ed., Routledge, London

2002

"Documentation VI: Pre-Writing Alphabet, Exergue and Dairy,” The Everyday Life Reader, ed. Ben Highmore, Routledge, London and New York “Primapara, The Bathing Series, 1974,” Gloria: Another Look at Feminist Art in the 1970’s (catalog), White Columns, New York City “Notes on Reading Post-Partum Document,” Conceptual Art, Themes and Movements Series, Phaidon Press Ltd., London

2001

"Post-Partum Document, Documentation IV," Mother Reader, ed. Moyrn Davey, Seven Stories Press, New York "Detour," The Subject-Encore, Psychoanalysis Under Construction Series, Minnesota University Press. "Beyond the Purloined Image" (reprint), Art and Feminism, Helena Reckitt, ed., Phaidon Press, London

2000

"Mea Culpa," October 93, Summer MIT Press "Mea Culpa," Alphabet City, No. 7, New York "Primapara," Aperture, issue on Photography and Time, No. 158, Winter, New York "Woman – Image – Desire,” The Artists Body, ed. Tracey Warr, Phaidon Press, London

1999

Notes on Reading Post-Partum Document," Conceptual Art: A Critical Anthology, eds. Alexander Alberro and Blake Stimson, MIT Press, Boston. ”Postscriptum to the Post-Partum Document," Rereading Post-Partum Document, ed. Sabine Breitweiser, Generali Foundation, Vienna "Marking Time, Imaging Desire: The Other Perspective," Drawing Across Boundaries, CD publication, Loughborough University School of Art and Design

1998

Post Partum Document (reprint), English edition, University of California Press and Generali Foundation, Vienna Post-Partum Dokument, first German edition, Generali Foundation, Vienna “Interim, Part I,” Cream - Contemporary Art in Culture, Phaidon Press, London. "Mimer le Maitre: Trucs de Garçon, Mauvaises Filles et Femmes Vitales," All Star, exhibition catalog, Curatorial Program, Sous-Sol, Geneva. "(P)age 49: On the Subject of History," Feminist Art Criticism, ed. Katy Deepwell, Ediciones Catedra, S.A., Madrid (Spanish Edition). Review of “Penthesilea,” Spare Rib, number 30, December 1974 reprinted in Rogue Reels: Oppositional Film in Britain 1945-90, Margaret Dickinson, publisher, British Film Institute.

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"Re-viewing Modernist Criticism" (excerpt), Art in Theory: An Anthology of Sources on Art Theory in the 20th Century, eds. Charles Harrison, Paul Wood and Sebastian Zeidler, enlarged edition, German, Hatje Verlag. 1997

“Artist’s Writings,” Mary Kelly, Contemporary Artists Series, Phaidon Press, London. “Why Miss World,” “Prick’s Trip,” “National Liberation Movements and Women’s Liberation,” Social Process / Collaborative Action: Mary Kelly 1970-1975, ed. Judith Mastai, Charles H. Scott Gallery, Vancouver. "Desiring Images/Imaging Desire", Encyclopedia of Aesthetics, ed. Michael Kelly, Oxford University Press. "Gloria Patri: A Conversation about Power, Sexuality and War," In Visible Touch: Modernism and Masculinity, ed. Terry Smith, Power Publications, Sydney.

1996

Imaging Desire: Mary Kelly Selected Writings, MIT Press, Boston. "Miming the Master," Modernist Utopias, Musée D'Art Contemporain De Montréal. Gloria Patri, Paletten, Sweden. Readings in Feminism Series, design concept of logo, Oxford University Press, England. "Preface to the Post-Partum Document," Theories and Documents of Contemporary Art: A Sourcebook of Artist’s Writings, eds. Kristine Stiles, Paul Selz, University of California Press, Berkeley.

1995

"Introduction to Post-Partum Document," Division of Labor (catalog), The Bronx Museum of the Arts, New York. "Feminist Issues," Roundtable with Hal Foster, Simon Leung, Mary Kelly, Silvia Kolbowski, Liz Kotz, Mignon Nixon, October 71, winter. "(P)age 49: On the Subject of History," Feminist Art Criticism, ed. K. Deepwell, Manchester University Press, England. “Interim,” Corpus 1984-5, Museumsquartier, Kunsthalle, Wien.

1994

"Gloria Patri," Camera Obscura No. 31. "On Display: Not Enough Gees and Gollies to Describe it," Whitewalls, No. 33-34, Chicago. Voicing Today's Visions: Writings by Contemporary Artists, ed. Mara R. Witzling, University Publishing.

1993

"Mary Kelly in Conversation with Margaret Iversen," I.C.A. Video: Talking Art. I.C.A. London. "Talking Art I," I.C.A. Documents 12, ed. Adrian Searle, Institute of Contemporary Art, London. "Interim," Camera Austria International 43/44. "Scatological Ejaculations, or, 'Letting Loose and Hitting 'em with all We've Got,'" Art Journal, Vol. 52 No. 3, New York. "Gloria Patri: Two Narratives," Assemblage 20, MIT Press, Cambridge. "Artist Contribution: Gloria Patri," Forum International Vol. IV, No. N19, Belgium. 13

"Not Enough Gees and Gollies," Women's Art Magazine, No. 542, WSL Publication. "The Smell of Money," Fetishism as Cultural Discourse, eds. Emily Apter, William Prety, Cornell University Press. "Post-Partum Document, Documentation 6," Atias de l'Art - La Modenite, (1940-1990 L'autre Moitié de l'art), Encyclopaedia Universalis, France. 1992

"Gloria Patri" Camera Obscura, No.31. “The Spatial Drive, BLAST,” Pocket Dictionary, New Museum, New York. Gloria Patri (catalog), Ezra and Cecile Zilkha Gallery, Wesleyan University. "Potestas," AM LIT, Neue Literatur aus den USA, Edition Druckhaus III, Berlin. "Mary Kelly and Griselda Pollock in Conversation," Vag Document I, Vancouver Art Gallery, June 1989. "Interim," Now Time No. 2, Art Press, D.A.P. Publications. "Follow Me" (white t-shirt with black ink, L, XL), Artists Space, New York. “Reviewing Modernist Criticism,” (excerpt), Art in Theory: An Anthology of Sources on Art Theory in the 20th Century, eds. Charles Harrison and Paul Wood, Blackwell, Oxford and Cambridge, MA.

1991

"Interim. Part I. Supplication," Social Text No. 28 (cover) The Female Body, an anthology of M.Q.R. (Michigan Quarterly Review) publications, The University of Michigan Press. "Re-presenting the Body." Psychoanalysis and Cultural Theory, ed. James Donald, St. Martin's Press, New York. "Magiciens de la Mer(d)," Art Forum, New York (artist's project). "Pecunia Olet," Top Stories, ed. Anne Turyn, City Lights Books, San Francisco. "Mary Kelly in Conversation with Griselda Pollock," Parachute, 62.

1990

"Pecunia Olet", Top Stories, New York, No. 29. Interim (catalog), The New Museum of Contemporary Art, New York. "Desiring Images/Imaging Desire," instabili, La Galerie Powerhouse, Centre d'information Artexte, Montreal.

1989

"On Interim, Part I," Whitewalls, No. 23, Chicago, Fall. "From Corpus," Taking Our Time, ed. Frieda Forman, Pergamon Press, Oxford. Between Signifiers: A Report by the Participants on The Critical Practice of Art, a summer intensive held at the Simon Fraser University Centre for the Arts.

1987

"Beyond The Purloined Image," Framing Feminism, eds. Parker & Pollock, Pandora Press, London. "On Sexual Politics of Art," Framing Feminism, eds. Parker & Pollock, Pandora Press, London. "On Difference, Sexuality, and Sameness," Screen, Vol. 28, No. 1, London. 14

"Invisible Bodies: On Interim," New Formations, No. 2, London. 1986

"Interim," (5 part series), The Guardian, June, 2, 9, 16, 23, 30, London. Interim (catalog), Fruit Market Gallery, Edinburgh; Riverside Studios, London; Kettles Yard, Cambridge University.

1985

Menace, Talking Back to the Media, Amsterdam. "Woman-Desire-Image," ICA Documents, ed. Lisa Appignanesi, Institute of Contemporary Art, London.

1984

"Desiring Images/Imaging Desire," Wedge, No. 6, New York. "Post-Scriptum," The Critical Eye/I, Yale Center for British Art, New Haven. "Reviewing Modernist Criticism," Art After Modernism, ed. Brian Wallis, New Museum of Contemporary Art, New York, D.R. Godine, Boston.

1983

"Beyond the Purloined Image," Block, No. 9, London. Post-Partum Document, Routledge & Kegan Paul, London. "Jenseites des entwendeten Bildes," Archithese, No. 5, Zurich.

1982

"Post-Partum Document," Sense and Sensibility, Midland Group Gallery, Nottingham.

1981

"Re-Viewing Modernist Criticism," Screen, Vol. 22, No.3, London. "Feminist Art: Assessing the 70's and Raising Issues for the 80's," Studio International, Vol 195, No. 991/12. London. "Documentation VI," Block, No. 4, London. "Documentation IV," Heresies, No, 12, New York. "Documentation VI" M/F, Nos. 5 & 6, London.

1980

"Sexual Politics," Art and Politics, Winchester School of Art Press.

1979

"On Femininity" Control Magazine, No. II, London. "Post-Partum Document," Kunstforum, No. 36, Mainz, "Documentation III," Skira Annuel, Skira S.A., Geneva.

1978

"The State of British Art," Studio International, No. 2, London.

1977

"Footnotes and Bibliography," Post-Partum Document, Museum of Modern Art, Oxford. "Notes on Reading the Post-Partum Document," Control Magazine, No. 10, London. "What is Feminist Art," Towards Another Picture, eds. Brighton and Morris, Midland Group, Nottingham. "Women's Practice in Art," Audio Arts, No. 2, London.

1976

"Footnotes and Bibliography," Post-Partum Document, Institute of Contemporary Art, London.

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PUBLICATIONS - ON THE ARTIST 2005

Yves Alain Bois, Hal Foster, Benjamin Backloh, Rosalind Karuss, Art Since 1900, Thames & Hudson, London Cara Baldwin, “Interview with Mary Kelly,” InterReview, No. 3, Los Angeles Hal Foster, Return of the Real, French edition, La Lettre Volée, Publishers, Bruxelles

2004

Cuauhtémoc Medina, “La sedimentación del trauma,” Reforma, May 26 Merry Mac Masters, “Muestra en México de Mary Kelly contra la guerra,” La Journada, May 11 Erika Bucio, “Une insttalación música y poesía,” Reforma, May 10 “Instalación Musical,” Milenio, May 7 Xavier Quirati, “Arte contra el horror de la guerra,” Milenio, May 2 MUCA se exhibira por primera vez el de Mary Kelly, Laberintos, April Graciela de la Torre, “La balada de Kastriot Rexhepi,” Maurice Berger, “Mea Culpa: el arte de Mary Kelly,” Jorge Reynoso, “La balada y el tiempo mitico,” and Mary Kelly y Trisha Ziff, “Una conversación informal,” in Mary Kelly: La balada de Kastriot Rexhepi (catalog), Museo Universitario de Ciencias y Arte, Ciudad Universidad, Mexico City Rebecca Jennison, “Between Media, Art and War: Contemporary Art in America and the Shaping of ‘Public Memory,’” Journal of Kyoto Seika University, No. 27, Japan Eduardo Lomas, ”Mary Kelly en MUCA-CU,” Arte Visuales, May 30 Monica Mayer, “Mary Kelly: la balada de Kastriot Rexhepi,” El Universal, May 21 Blanca Ruiz, “Una balada por los desplagados,” Reforma, May 14 “Se exhibe por primera vez la obra de Mary Kelly,” Gaceta, May 13 Merry Mac Masters, “La balada de Kastriot Rexhepi, instalación visual y musical,” La Jornada, May 13 “Inauguró Mary Kelly su Muestra La Balada de Kastriot Rexhepi,” Excelsior, May 12 Jack Benkowsky, “This is History,” Art Forum, May Pamela M. Lee, “Crystal Lite,” Art Forum, May Howard Singerman, “In Theory & Practice: a History of the Whitney Independent Study Program,” Art Forum, February Susan E. Bell, “Intensive Performances of Mothering: a Sociological Perspective,” Qualitative Research, Sage Publications, London and New Delhi Griselda Pollock, “Mary Kelly’s Ballad of Kastriot Rexhepi: Virtual Trauma and Indexical Witness in the Age of Mediatic Spectacle,” Parallax, Vol. 10, No. 1, 100-112, Routledge Taylor & Francis Group, London Debra Singer, “The Way Things Never Were, Nostalgia’s Possibilities and The Unpredictable Past,” Whitney Biennial 2004, Whitney Museum of American Art, New York, Distributed by Harry N. Abrams, New York. 16

Lea Susemichel, “Körperreden,” an. Schlāge, Nr. 3, S. 36/37, Vienna Johanna Schwanberg, “Was uns die Körper ergählen,” Die Furche, Nr. 9, Feb. 26, Vienna Christa Benzer, Nicola Hirner, “Villgestaltige Versprechungen,” Springerin, Heft X, Band 1, S . 58-61 Peter Wollen, Paris Manhattan: Writings on Art, Verso, London and New York Kate Liniker, “Représentation et Sexualité,” in Parachute: essays choisis 1975-1984 sous la direction de Chantal Pontbriand, La Lettre Volée, Bruxelles and Editions Parachute, Montréal Lydia O’Ryan, “Mary Kelly” (8 hour recorded interview), Artists’ Lives, National Life Story Collection, British Library Sound Archive in Association with The Tate Archive, London David Joselit, American Art Since 1945, Thames & Hudson, London Hemma Schmutz, Tanja Widmann, eds., “Manöver,” Dass die Körper Sprechen, auch das wissen wir seit langem, Generali Foundation, Vienna Margaret Iversen, “Readymade, Found Object, Photograph,” Art Journal, Summer Carol Vogel, “More Eyes on the Mix for the Whitney Biennial,” Oct. 27 Michael Kimmelman, “The Whitneys’ Heavy Lifters Look Back,” Interview with Curators Debra Singer, Shamim Momin, Chrissie Iles 2003

James Meyer, “Outside the Box: Unpacking Craig Owens’ Slide Library,” Art Forum, 40th Anniversary issue, March, New York Deanna Petherbridge, “Reframing the Collection,” Women’s Art at New Hall, Catalogue, 3rd edition, University of Cambridge Andrea Duncan, “The Alchemy of Inversion: Charlotte Bronte’s Jane Eyre and Mary Kelly’s “Menacé,” The Feminine Case, eds. Tessa Adams, Andrea Duncan, Karnac Books Ltd., London Barbara Steiner, Jun Yang, Writing Identity: on Autobiography in Art, Thames & Hudson, London Janet Cardiff, Carolyn Christov-Bakagiev, Memory, Thames & Hudson, London Richard Cork, “Mary Kelly and David Dye,” Everything Seemed Possible: Art in the 1970’s, Yale University Press Simon Morley, “Post-Partum Document,” Writing on the Wall, Thames & Hudson, London Occupying Space, Sammlung Generali Foundation Collection, ed. Sabine Breitwieser, Generali Foundation, Vienna, Verlag der Buchhandlung, Walter Kőnig, Cologne Tate Women Artists, Tate Gallery Publishing, London

2002

Ernest Larsen, “About a Boy: on Mary Kelly’s newest installation,” Art in America, December, New York Simon Morley, Writing on the Wall, Thames & Hudson, London W.H. Arnason, A History of Modern Art, Laurence King Publishing, London Rosanna Albertini, “íl riso della luna piena,” La Gazzetta, September, Pisa 17

Juli Carson, “On Discourse as Monument: Institutional Spaces and Feminist Problematics,” Alternative Art New York, 1965-1985, ed. Julie Ault, University of Minnesota Press, Minneapolis Julia Watson, Sidonie Smith, ”Mapping Women’s Self-Representation at Visual/Textual Interfaces,” Interfaces, Julia Watson, Sidonie Smith, eds., The University of Michigan Press, Ann Arbor Christopher Miles, "Mary Kelly: Santa Monica Museum of Art," Art Forum, March Peter Frank, "Mary Kelly," Art Pick of the Week, L.A. Weekly, January 17 Silvia Eiblmayr, “Die Ekstase der Moderne Hysterie Körper und der Technik in der Kunst,” Vorträge Aus Dem Warburg-Haus, Band 6, Academie Verlag, Berlin Bill Ivey, et al., A Creative Legacy: A History of The National Endowment for The Arts, Visual Artists’ Fellowship Program, NEA and Harry Abrams, Inc., Publishers, New York Paul Wood, Conceptual Art, Movements in Modern Art Series, Tate Modern, London; publisher Delano Greenridge Editions, New York Emily Apter, "Critical Habitats," October, 99, Winter 2001

Craig Owens, "The Discourse of The Other," and Emily Apter, ”Essentialism's Period" (reprints), Art and Feminism, ed. Helena Reckitt, Phaidon Press, London Christopher Knight, ”On Lint, a Tale of an Orphan's Rescue," Los Angeles Times, December 15 Carol Armstrong, "Camera Women: A Partial History," Camera Women (catalog), Princeton University Art Museum Maurice Berger, "Mea Culpa: The Art of Mary Kelly"; and Elsa Longhauser, "Mary Kelly in Conversation": Mary Kelly: The Ballad of Kastriot Rexhepi (catalog), Santa Monica Museum of Art Peggy Phelan, Helena Reckitt, eds., "Survey," Art and Feminism, Phaidon Press, London Eleanor Heartney, Postmodernism, Movements in Modern Art Series; Tate Publishing, London. Katy Keepwell, "Mary Kelly on Mea Culpa," n. paradoxa, Vol. 8, London James Putnam, Museum as Art / Art as Museum, Thames and Hudson, London Frances Borzello, A World of Our Own, Thames & Hudson, London Martin Coomer, "Mary Kelly," Time Out, May 23-30, London Richard Cork, "Mary Kelly," The Times, May 26, London Kathy Battista, “Mary Kelly – Mea Culpa,” Third Text, 56, Autumn

2000

Motoko Nakagawa, "The Originator of Life" (in Japanese), Katachi, No. 8, Tokyo Alexander Alberro, "Time and Conceptual Art," Tempus Fugis, (catalog), Nelson-Atkins Museum of Art, Kansas City. Leslie C. Jones, "Transgressive Feminists, Art and Gender in the 1960's and 1970's," The Artists Body, ed. Tracey Warr, Phaidon Press, London Iwona Blazwick, "Mary Kelly," Tate Modern, The Handbook, Tate Gallery Publishing, London

18

BBC (British Broadcasting Corporation), Introduction to Modern and Contemporary Art, Television Series and Publication, London David Hopkins, After Modern Art, (Chap. 6, "The Death of the Object: The Move to Conceptualism"), Oxford History of Art Series, Oxford University of Press Anna Maria Guasch, “De la diferencia sexual al transgénero,” El arte último del siglo XX, Del posminimalismo a lo multicultural, Alianza Forma, Madrid 1999

Rereading Post-Partum Document, ed. Sabine Breitweiser, essays (in German and English) by Griselda Pollock, "Still Working on the Subject: Feminist Politics and its Avant-Garde Moment," Isabelle Graw, "On Facsination: Some Thoughts on Textuality and Materiality in the Work of Mary Kelly." "Excavating Post-Partum Document: Mary Kelly in Conversation with Juli Carson; statements by Don Graham, Renee Green, Simon Leung, Susanne Lummerding, Dorit Margreiter; Generali Foundation, Vienna Lisa Phillips, The American Century, Art & Culture 1950-2000, Whitney Museum of American Art, W.W. Norton & Co., New York, London The Gallery Channel.com, "Social Process/Collaborative Action: Mary Kelly 1970-1975," interview and virtual exhibition walk-through, Leeds City Art Gallery, http://[email protected] Carolyn Christov-Barkargiev, La Mémoire (catalog essay, Academie de France a Rome, Paris Musée Holly Willis, ”Mary Kelly Interview," Artweek, Los Angeles Marjorie Welish, "Narrating the Hand: Cy Twombley, Mary Kelly and The Story of Writing," Annals of Scholarship," Vol. 13, Nos. 1 & 2, Philadelphia Helen Molesworth, "Cleaning Up in the 1970s: The Work of Judy Chicago, Mary Kelly and Mierle Laderman Ukeles," Rewriting Conceptual Art, Michael Newman, John Bird, ed., Reaktion Books, London Ruth Noack, "Premapara: Über pas Ambwa esente Verhaltnis Zwischen Bild und Betroch terin, Mutter und Kind," Kursiv, 6-1, Austria Melvyn Bragg, Martin Harrison, "1970s," Visions: 50 Years of British Creativity, Thames & Hudson, London Juli Carson, “Interview with Mary Kelly,” Art Journal, Winter. Alexander Alberro, “Mary Kelly,” review, Artforum, September. Sarah Valdez, “Mary Kelly at Postmasters,” Art in America, September. Peter Wollen, "Global Conceptualization and North American Conceptual Art," Global Conceptualism: Points of Origin, 1950s-1980s (catalog), Queens Museum of Art, New York Martha Schwendener, “Mary Kelly,” review, Time Out New York, April 29. Holland Cotter, "Mary Kelly," The New York Times, April 9. Isabelle Graw, "Silverblick," Texte zu Kunst und Politik, Koln. John A. Walker, Art and Outrage, Pluto Press, London. Dorothea Olkowski, The Ruin of the Representation: Gilles Deleuze and Feminist Aesthetics, University of California Press, Berkeley. 19

Sigrid Adorf, Mary Kelly, Generali Foundation, Wien, Noema, Janner-Marz. Rosalee Goldberg, Performance: Live Art Since 1960, Harry N. Abrams, Inc., New York. Holly Willis, “A Conversation with Mary Kelly,” Artweek, Volume 30, number 3, San Jose. Charlotte Milholland, Resources for Girls, [email protected], Resources for Girls, Inc., New York. Terry Smith, "Conversation about Conceptual Art, Subjectivity and The Post-Partum Document," Conceptual Art: A Critical Anthology, eds. Blake Stimson and Alex Alberro, MIT Press, Cambridge. 1998

Reva Wolf, "The Uses of Foucault's History of Sexuality in the Visual Arts," Philosophy Today, no. 42, Spring. Abigail Solomon-Goddeau, "Signs of Age at the Contemporary Arts Forum," Art in America, New York, July. Juli Carson, "Re-Viewing Mary Kelly's Post-Partum Document," Documents, New York, Fall. Lee Parpart, "Social Process/Collaborative Action: Mary Kelly 1970-75," International Contemporary Art, No. 57, Canada. Frances Borzello, Seeing Ourselves, A History of Women's Self-Portratiture, Thames and Hudson, London. Griselda Pollock, Vision and Difference, Chinese Edition, Yuan-Liou Publishing Company., Ltd. Taipei, Taiwan. Rachel Blau Duplessis, "Haibun: Draw your/Draft," Sulfur 42, a literary bi-annual of The Whole Art, Eastern Michigan University, Spring. "Schmutzige Windeln. Aber ist das Kunst, Mary Kelly in der Generali Foundation" Der Standard Wien, Donnerstag, August 27. Post-Partum Dokument. Das Komplette Werk (1973-79), Generali Foundation, Portfolio Newsletter Wien. Schaufenster, Verdrangte Romantik, “Die Erfahrungen einer Mutter sind Ausgangspunkt fur Mary Kelly's mittlerweile historisches 'Post-Partum Dokument' es steht im Mittelpunkt ihrer One-WomanShow in der Generali Foundation," Die Presse, Schaufenster. "American Artist Mary Kelly presents 'Post-Partum Document' at Vienna's Generali Foundation," Austria Today, September 30. Markus Mittringer, "'Post-Partum Dokument' in der Generali Foundation," Der Standard, Wien October 2. Henriette Horny, "Mutter & Kind aus der Sicht einer Mutter, Die Generali Foundation zeight Mary Kelly's Werkblock 'Post-Partum,'" Kurier, Wien, October 2. Meike Schmidt-Gleim, "Volle Windeln und Tabellen," Falter, Wien, October 7. Carolyn Christov-Bakargiev, "Diario visivo di una madre," Il Sole, Italy, November 1. Von Erwin Melchart, "Generali Foundation: Mary Kelly's 'Post-Partum Dokument,' Eine Mutter 'spricht' mit ihrem Kind," Neue Kronen Zeitung Wien, October 8. 20

Peter Gorsen, "Die Kunst der Frage, Erfahrungen als Mutter: Die Kunstlerin Mary Kelly in Wien," Frankfurter Allgemeine Zeitug, November 26. Christian Kravagna, "Mary Kelly's Post-Partum Dokument," Kunst-Bulletin, Zurich, December 12. Von Johanna Hofleitner, "Ausgustellt in Wien, Generali Foundation," De Presse, Wien, December 12. Von Maren Lubbke, "'Post-Partum Dokument,' Das Komplette Werk (1973-79),” Generali Foundation, Wien, Camera Austria, no. 64, Graz, Winter. Ruth Noack, "Das 'Post-Partum Dokument,' Mary Kelly in der Generali Foundation," Neue Bildende Kunst, no. 6, Berlin, December. 1997

Mary Kelly, Contemporary Artists Series: ed. Iwona Blazwick, essays by; Douglas Crimp, "Douglas Crimp in conversation with Mary Kelly," Margaret Iversen, "Visualizing the Unconscious: Mary Kelly's Installations," Homi K. Bhabha, "Mary, Mary, Quite Contrary: On Gloria Patri," Phaidon Press, London. Lee Parpart, "Challenging Work - Worth Seeing," Artspaces, The Kingston Whig-Standard, Kingston, Ontario. Timothy Murray, Drama Trauma: Specters of Race and Sexuality in Performance, Video and Art, Routledge, London and New York. Christian Holler, Wiederkehrende Wendugen, springer Band III, Wien. Jim Sinclair, "In Person: Mary Kelly," Pacific Cinematheque, January/February, Vancouver. Shannon Rupp and Ian Hanington, "Postmodern Pioneer," Art Notes, The Georgia Straight, January 23. Michael Scott, "Turning Outrage into Art," The Vancouver Sun, March 1. Joanna Lowry, "Intimate Distance: Art in a Confessional Culture," Contemporary Visual Arts, issue 18, London. "Poised Between Activism and Art", The Globe and Mail, November 13, Kingston, Ontario. Jennifer Steen, A Woman's World: the Feminist Art of Mary Kelly, PIC Press, Kingston, Ontario. Lianne Elliott, "Multimedia exhibit at Agnes Etherington Art Works works for social change," The Queen's Journal: 17, October 14, Kingston, Ontario. Tim Murray, Drama Trauma: Specters of Race and Sexuality in Performance, Video and Art, including chapter on Gloria Patri entitled "Televised Fears and Warrior Myths: Mary Kelly Meets Dawn Dedeaux." Routledge, London. Helsinki City Art Museum, Mary Kelly 1994-95, internet page. Jane Kelly, Picturing Women: Women Artists and Self-representation 1970-95, Kingston University Press, England. Donald Preziosi, The Art of Art History: A Critical Anthology, ed. Donald Preziosi, Oxford University Press, includes Mary Kelly and Paul Smith, "No Essential Femininity: A Conversation with Mary Kelly and Paul Smith" (Parachute vol. 37, no. 26, Spring 1982, pp. 29-35; all of Post-Partum Document). Amelia Jones, Body Part/Performing the Subject, University of Minnesota Press. 21

Brigitte Werneburg, “Kunst in Berlin: Mary Kelly,” Wand und Boden, Berlin. MacKenzie Art Gallery, Ten Years of Collecting: 1987-1997 (Catalog), Manitoba. Awa Lejer Burcharth, "Post-Partum Document, Section 4", Gender Magazine Maurice Berger, "Performativity and Minimalism in Recent American Art," Minimal Politics, (catalog) Fine Arts Gallery, University of Maryland, Baltimore. Social Process/Collaborative Action: Mary Kelly 1970-75 (catalog): essays by; Judith Mastai, “Portrait of an Artist After Choice: Mary Kelly and the Historicization of Conceptual Art,” Griselda Pollock, “Histories,” Peter Wollen, “Thirteen Paragraphs,” Charles H. Scott and Emily Carr Institute, Vancouver, British Columbia. 1996

Michael Archer, Art Since 1960, (World Art) Thames & Hudson, United Kingdom. Amelia Jones, Sexual Politics: Judy Chicago's Dinner Party in Feminist Art History, UC Press, Berkeley, Los Angeles, London. Anne Middleton Wagner, Three Artists, UC Press, Berkeley, Los Angeles, London. John Walker, Art in Britain Since 1950, Manchester University Press. Margaret Iversen, Dictionary of Women Artists, Mary Kelly entry, Fitzroy Dearbron, London. Shaila Mehra, "Re-Visioning Motherhood: Mary Kelly's Post-Partum Document 1973-78)," Confluence: A Journal of the Humanities and Social Sciences, Rhodes College Press. Rosemary Betherton, Intimate Distance, Routledge, New York and London. Jo Anne Isaak, Feminism and Contemporary Art; The Revolutionary Power of Women's Laughter, Routledge, New York and London. Hal Foster, The Return of the Real, MIT Press. Rita Roos, Interview with Mary Kelly, Paletten, Sweden. Isabelle Graw, "Privatsachen: Modelle des Peisolichen im Werk von Mary Kelly, Barbara Kruger and den V-Girls," Texte Zur Kunst, No. 24. Irving Sandler, Art of the Postmodern Era: From the Late 1960s to the Early 1990s, HarperCollins, New York. “WAL,” Art Diary, Thames and Hudson, London. Hugh Brigstocke and Jane Shoaf Turner, The Dictionary of Art, Macmillan Publishers, London. Tracey Warr, The Artists Body, Phaidon Press, London. Parveen Adams, The Emptiness of the Image: Psychoanalysis and Sexual Difference, Routledge, London.

1995

Nigel Wheale, ed., Postmodern Arts, Routledge, New York and London. M.G. Lord, "Women's Work Is (Sometimes) Done," The New York Times, February 19. Holland Cotter, "Feminist Art, 1962 Until Tomorrow Morning and International," The New York Times, March 17. 22

Nico Israel, "The Masculine Masquerade," Art Forum, October, No. 2. Diane Neumaier, Reframings: New American Feminist Photographies, Temple University Press. Edward Lucie-Smith, Visual Arts in the Twentieth Century, Calmann and King, London. Melissa Larner, The Twentieth Century Art Book, Phaidon Press Limited, London. Sandak, Visual Documents of the Arts, Macmillan Publishing Company, New York Mary Anne Staniszewski, Believing is Seeing: Creating the Culture of Art, Penguin Books, New York. Lucy R. Lippard, Moving Targets, The New Press, New York. Edward Lucie-Smith, Art Today, Phaidon, London. Jo-Anna Isaak, Laughter Ten Years After (Catalog), Hobart and William Smith Colleges Press. Brandon Taylor, “Avant-Garde and After: Rethinking Art Now,” Perspectives, Harry N. Abrams, New York. W.N.Y.C. TV, 3 minutes of Culture, interview, "Division of Labour: Women and Work," Bronx, Museum, NY. Lucy R. Lippard, The Pink Glass Swan: Selected Essays on Feminist Art, The New Press, New York. Helaine Posner, "The Masculine Masquerade: Masculinity Represented in Recent Art," The Masculine Masquerade, MIT Press. Brandon Taylor, Art of Today, Abrams, Orion, Dumont, Verlag. Tim Murray, "Televisual Fears and Warrior Myths: Mary Kelly Meets Dawn Dedeaux," Camera Obscura, No. 32. William Furlong, Discourse and Practice in Contemporary Art, Audio Arts, Academy Edition, London. 1994

Suzette Worden, Multimedia in Education, Academic Press, England. Ingrid Periz, "Marking Time: Mary Kelly and Interim," Dissonance, ed. Catriona Moore, Allen and Unwin, Australia. Susanne Lummerding, "Weibliche Asthetik?” Passagen Philosophie, Frscheinungstermin, Wien. Josefina Ayerza, "Mary Kelly," Flash Art, 68-69. Catherine Lupton, "Circuit-breaking Desires: Critiquing the Work of Mary Kelly," Art Has No History, ed. John Roberts, Verso. Hege Lunde, "En Modern Kvinnes Rost," Kultur, Arbeiderbladet, Oslo 13 April. Av Lars Elton, "Allmenn intimitet?" Klassekampen, Norway, 20 April. Anne Lise Stafne, "En Kvinnestemme pa Galleri F 15," Aftenposten, Oslo, 11 April. Hal Foster, "Beqjaerets obskure subjekt Kvinnen?," oversatt, Bente M. Dahl, Billedkunstneren, May. 23

Ina Blom, "Mary Kelly og Feminismen," Aften Posten, 27 April. Merete Kildahl, "Kivnne for sin utstilling," Moss Dagblad, 9 April. Inger Bentzrud, "Kvinnekunst fra bleier til krig," Dagbladet, 8 April. Marja-Terttu Kivirinta, "Euroopan sielu, Amerikan ruumis feministitaiteen pioneerin Mary Kelly taidette ensi kertaa Helsingissa," Helsingin Sanomat, torstaina 8. joulukuuta 94. Gunilla Grahn-Hinnfors, "Ein kvinna med makt, Mary Kelly untmanar sociala monster," GotenborgsPosten, 8 October. James Auer, "War brings out creativity for installation artist Kelly," Milwaukee Journal, Sunday, January 9. Nancy Stapen, "Nine Months: when motherhood's the muse," Living Arts, The Boston Globe, July 21. Mary Ann Marger, "A Lesson in Values," Art Review, Times, Tampa, September 9. Phuong Nguyen, "Who do you think you are?" Times, Tampa, September 9. Joanne Milan, "Look way past skin deep through eyes of artists," Art Review, Tribune, Tampa, September. Helge Warberg-Knoll, "Tankekunstner," Moss Avis, 8 April. Joanna Silver, Visual Arts, Boston Herald, July 21 Marika Wachtmeister, "Mary Kelly-ett konstnarskap om kvinnligt ochmanligt," Femina, 12 Dec. James-Jason Lee, "Mary Kelly," Contemporary Art Gallery, Vancouver, Parachute 73. Norma Broude & Mary Garrard, The Power of Feminist Art, Harry N. Abrams, New York. Francette Pacteau, The Symptoms of Beauty, Reaktion Books, London. Joanne Milani, "Show's Art Shatters an Array of Stereotypes," Tribune, Tampa, September 20. Michael Archer, Installation Art, Thames and Hudson, London, 1994. Emily Apter, "Essentialism's Period," October 71, Winter. Emily Apter, "Out of the Closet," Art Journal, Vol. 52, No. 4. James Castonguay, Amelie Hastie, Chris Lane, Lynne Joyrich, Kathleen Woodward, "Interview with Mary Kelly," Discourse, No. 17, Journal for Theoretical Studies in Media and Culture, 20th Century Studies, University of Wisconsin, Indiana University Press. 1993

Robin Laurence, "Going to the wall with complex concepts," Visual Arts, The Weekend Sun, September 25. Robert A. Sobieszek, "Photographic Contingencies," The Camera Politic (catalog), Carlo Frua, Joyce Nereaux, New York and Veron. Adrian Randolph and Angela Rosenthal, "Die Inszenierung einer Pathologie der Mannlichkeit: Mary Kelly’s ‘Gloria Patri’," Frayen Kunst Wissenschaft, 6 Jahrang, Heft 16, Mannheim.

24

Leslie C. Jones, "Transgressive Femininity: Gender in the Sixties and Seventies," Abject Art (catalog), Whitney Museum of American Art. Maurice Berger, "Displacements," Ciphers of Identity (catalog), Fine Arts Gallery, University of Maryland, Baltimore County. Nina Felshin, "Empty Dress: Clothing as Surrogate in Recent Art," Empty Dress (catalog), Independent Curators Incorporated, New York. Randi Spires, "Mary Kelly," Matriart Volume 3, Number 4, Canada Anne Higonnet, "Mary Kelly at the Zilkha Gallery," Art in America, No. 6. Eric de Bruyn, "Mary Kelly: 'Gloria Patri,' Postmasters, New York," Forum International, No. 17, Belgium. J.A., "Mary Kelly, Postmasters," Artforum, May 93. Waldemar Januszczak, The Guardian, May 10, 1993, London. Rosanna Greenstreet, "Mary Kelly," The Guardian Weekend, May 22, London. K. Jaundice, "Mary Kelly," Sunday Telegraph, April 4. Redell Olsen, "New Art at New Hall," Varsity, February 19. Griselda Pollock, "Trouble in the Archives," Womens Art Magazine, No 54, WSL Publication. Holland Cotter, New York Times, Feb. 5. Kim Levin, Village Voice, Jan. 26. Robin Laurence, The Vancouver Sun, September 25. Jill Pollack, The Vancouver Courier, October 3. Charles Harrison, Paul Wood, "Modernism in Dispute-Art Since the Forties," The Open University, Yale University Press. Briony Fer, "Modernity and Modernism-French Painting in the Nineteenth Century," The Open University, Yale University Press. Edward Lucie-Smith, Race, Sex and Gender in Contemporary Art. Nina Weilbull, "Mary Kelly's Corpus," Divan, Quarterly for Psychoanalysis and Culture, Stockholm. "U207 Issues in Women's Studies," The Open University, Polity Press. 1992

Craig Owens, Beyond Recognition, eds. Scott Bryson, Barbara Kruger, Lynne Tillman and Jane Wienstock, Introduction by Simon Watney, University of California Press. Kate Campbell, Critical Feminism: Argument in the Disciplines, Open University Press, England. Klaus Ottmann, Mary Kelly: Gloria Patri (catalog), Herbert F. Johnson Museum, Ezra & Cecile Zilkha Gallery. Chihiro Minato, "Symposion Ober Fotografie VIII," Nippon Camera, Societe Camera, 1992.

25

Elizabeth Wright, ed., Feminism and Psychoanalysis, A Critical Dictionary, “Art, Fetishism, Image, Motherhood,” Blackwell, London, 1992 Clare Rendell, "Fine Arts Special," The Spectator, 24 October. Von Gisela Bartens, "Aufgeblatterte Fiktionen," Kultur, 18 Oktober, Graz. Chihiro Minato, "Symposium ober Photografie," Societe Camera, November 24, Austria. Franz Niegelhell, "Fotografiesymposion: Fragen zur Identitat," NZ, October 8, Austria. Maria Nievoll, "Herbst-Symposium: Hafslichkeit der Fersenhaut," Standard, October 19 Graz. Michael Odom "Effected Desire," New Art Examiner, March. Michael Odom, "Art," In Pittsburgh, October. Sandra Kemp & Judith Squires, Sexual Signatures, Routledge, London Klaus Ottmann, "Mary Kelly," Journal of Contemporary Art, Fall, New York. Robert Raczka, Effected Desire, Carnegie Museum of Art, Pittsburgh. Abigail Solomon-Godeau, Mis-taken Identities, University Art Museum, Santa Barbara. Tim Murray, Rebecca Egger, “Montage, Mastery and Masquerade,” Bookpress, Vol. 2, No. 3, Cornell University. Laura Mulvey, “Impending Time: Mary's Kelly's ‘Corpus’," Lapis, Milano. Margaret Iversen, "Shaped by Discourse, Dispersed by Desire: Masquerade and Mary Kelly's ‘Interim’," Camera Obscura, No. 27. Eva Hallin and Annika Ohrner, Aftonbladet, Stockholm. Maria Lind, "Mary Kelly," Bang Magazine, Stockholm University. Tom Sandqvist, “Material,” Periodical for Art & Art Theory, Stockholm. Faith Glasgow, "Artists Brighten up New Hall Cambridge," Financial Times, London. 1991

Geneviève Fraisse, “Storia Contemporanea,” XIX secolo, Gius. Laterza & Figli, Italy. Vista, Mackenzie Art Gallery. Emily Apter, “Eroticism and the Body Politic,” Splitting Hairs: Female Fetishism and Post-Partum Sentimentality in the Fin de Siecle, Lynn Hunt, ed., Johns Hopkins UP. Jo Anna Isaak, "What's love got to do, got to do with it?: Woman as the Glitch in the Postmodernist Record," American Imago, Vol. 48, No. 3, Johns Hopkins University Press Margaret Iversen, "The Deflationary Impulse: Postmodernism, Feminism and the Anti-Aesthetic," ICA Document 10, London. Margaret Iversen, "Post Modernism & the Re-readings of Modernity," Angelus Novus, University of Essex Symposium Anthology. Stella Rollig, "Mary Kelly at Knoll Gallerie," Kunstpresse, Wien. 26

Kerstin Braun, "Embleme der Sehnsucht," (Between madness and laughter), Camera Austria 37. "Galerienspiegel," Der Standard, 16 Mai, Austria. Kate Taylor, "Interim, a text heavy probe into the female identity," The Globe and Mail, March 16, Toronto. Parveen Adams, "The Art of Analysis," October 58, Fall, New York. Emily Apter, "Fetishism, Visual Seduction and Mary Kelly's Interim." October 58, Fall, New York. 1990

Christina Ritchie, Inquiries: Language in Art (catalog), Art Gallery of Ontario, Toronto. Susan Rubin Suleiman, Subversive Intent, Harvard University Press. Whitney Chadwick, Women, Art and Society, Thames and Hudson, New York. Ann Friedman, "Mary Kelly at Vancouver Art Gallery," Reflex, Sept./Oct., Seattle. Linda Choquette, "Artspeaking in Tongues," Noise, June, Vancouver. Renee Baert, Fast Forward, Toronto. Art Perry, "Kelly Plugs into Power Loss," Province, May 31, Vancouver. Liam Lacey, "A Window on Women's Experience," The Globe and Mail, May 31, Toronto. Robin Laurence, "Best of 1990 Visual Art," The Georgia Straight, Dec.-Jan., Vancouver. David Sweet, "Mary Kelly - New Museum," Artscribe, Summer, London. Larry Bleiberg, "Pop Images of Abstract Art," The Edmonton Journal, May 19. Ann Rosenberg, "Visualizing the Female Voice," The Saturday Review, Vancouver. Robin Laurence, "Female Form Rethought," The Georgia Straight, June 21, Vancouver. Ruth Askey, "A Brief Moment of Women," Artweek 18, Seattle. Sylvia Reinthal, "Kulturspiegel," Kanada Kuriere, July, Vancouver. Jennifer McLerran, "The Lady Vanishes," Artspace, Nov./Dec., Seattle. Laura Cottingham, "Thoughts are Things," Contemporanea, September, New York. Jean-Christophe Castelli, "Word Play," Mirabella, August, New York. Darcy Grimaldo Grigsby, "Dilemmas of Visibility," Michigan Quarterly, Fall, Ann Arbor. Janet Wolff, Feminine Sentences, University of California Press, Berkeley. Anders Stephanson, "Interview with Craig Owens," Social Text 27, New York. Susan Edelstein, "Mary Kelly," Kinesis, June, Vancouver. Frazer Ward, "Notes on a Year in New York," Eyeline, Australia. Griselda Pollock, "Interventions in History," WASL Journal, 33, London. 27

Hilary Robinson, "The Body of the Mother: Paradoxes and Absences," Mothers, Ikon Gallery, Birmingham. Dena Shottenkirk, "Mary Kelly," Art Forum, May, New York. Elizabeth Hess, "Herstory," The Village Voice, 35, No. 11, New York. Claudia Swan, "Aesthetic Archive," Elle, March, New York. Margaret Sundell, "Mary Kelly," 7 Days, March 28, New York. Mary Kelly: Interim (catalog): essays by; Norman Bryson, "Interim and Identification," Hal Foster, "That Obscure Subject of Desire," Griselda Pollock, "Interventions in History: On the Historical, the Subjective and the Textual", Marcia Tucker, "Picture This: An introduction to Interim," New Museum of Contemporary Art, New York. 1989

Sarah Kent and J. Morreau, Images of Men, Pandora. Elizabeth Hess, "The Good Mother," The Village Voice, 34, No. 2, New York. Jennifer Fisher, "Interview with Mary Kelly," Parachute, No. 55, Montreal. Laura Mulvey, "Impending Time," Visual and Other Pleasures, University of Indiana Press, Bloomington. Mira Schor, "From Liberty to Lack," Heresies 6, No. 4, issue 24, New York.

1988

Linda Nochlin, Women, Art, and Power, Harper and Row. Linda Nochlin, "Women, Art and Power," Visual Theory, Painting and Interpretation, Norman Bryson, Michael Ann Holly, Keith Moxey, eds., Harper Collins. Ingrid Pery, Modes of Address (catalog), The Whitney Museum of American Art, New York. Griselda Pollock, Vision and Difference, Routledge and Kegan Paul, London. Margaret Iversen, "Fashioning Feminine Identity," Art International, Spring, Paris. Elaine Wintman, "In the Interim," Articles, Vol. 4, No. 1, Cal Arts, Los Angeles. Edward Soganski, "In Galleries," The Philadelphia Inquirer, March 31. Paula Marincola, "Mary Kelly," Artforum, Summer, New York. Mary Anne Staniszowski, Flash Art, Autumn. Elenore Welles, "Exhibitions" Artweek, Vol. 19, No. 25, Los Angeles. Jo Anna Isaak, "Mapping the Imaginary", The Event Horizon, eds. Lorne Falk and Barbara Fisher, The Coach House Press and Walter Phillips Gallery, Toronto.

1987

Rozika Parker and Griselda Pollock, Framing Feminism, Pandora's Press, Routledge and Kegan Paul, London. Barbara Fisher and Lorne Falk, The Event Horizon, Walter Philips Gallery and The Coach House Press, Toronto. Roszika Parker and Griselda Pollock, Framing Feminism, Pandora Press, Routledge and Kegan Paul, London. 28

“Mary Kelly,” interview by Terrence Maloon, (1978 Artscribe); “Post-Partum Document by Mary Kelly,” Laura Mulvey (1976 S.R.); “Mystifying Theory,” Margot Waddell and Michelene Wandor (1977 S.R.); “Using Psychoanalytic Theory,” Parveen Adams, Rosalind Delmar and Sue Lipshitz, reprinted in Visibly Female, Hilary Robinson, ed., Camden Press, London. Rosemary Betterton, “Looking on Images of Femininity in the Visual Arts and Media,” Pandora, London. Elizabeth Sussman, The British Edge (catalog), ICA, Boston. Andrea Inselmann et al, The Viewer as Voyeur (catalog), The Whitney Museum of American Art, New York. Simon Watney, "Mary Kelly," Artscribe, March/April, No. 62, London. Andrea Rehberg, "The Deconstructing Difference Issue of Screen," Independent Media, No, 65, May, London. Sandy Nairne, State of the Art, Chatto and Windus, London. Norman Bryson, "Invisible Bodies III,” New Formations, No. 2, London. Elizabeth Cowie, "Invisible Bodies II,” New Formations, No. 2, London. Paul Smith, "Terminal Culture? The British Edge," Art in America, September, New York. 1986

"Mary Kelly in Conversation with Laura Mulvey," Afterimage, No. 8, March, Rochester. Hal Foster, "The Future of an Illusion," Endgame (catalog), MIT and ICA, Boston. Carol Corbeil, "Exhibition Encourages Laughter and Distance," The Globe and Mail, March 20, Toronto. Diedre Hanna, "Kelly's Questioning Images," Now, No. 28, March, Toronto. Richard Gott, "Interim Reflections," The Guardian, June 2, London. Andrea Fraser, "On the Post-Partum Document," Afterimage, No. 8, March, Rochester. Margaret Iversen, "Difference on Representation and Sexuality," M/F, Nos. 11 &12, London. Sarah Kent, "Kelly's Eye," Time Out, October, No. 19, London. Griselda Pollock, "What's the Difference," Aspects, No. 32, Spring, Newcastle.

1985

Diane Neumaier, "Post-Partum Document," Exposure, Albuquerque, Winter. Laura Mulvey, "Impending Time," Interim, Fruitmarket Gallery et al, Edinburgh, Cambridge, London. Sara Kent and Jacqueline Morreau, “Images of Men,” Readers and Writers, London. Mark Lewis, "Concerning the Question of the Post-Cultural," C, Winter, Toronto. Monika Gagnon, "Mary Kelly," C, Summer, Toronto. Griselda Pollock, "History and Position of the Contemporary Woman Artist," Aspects, No. 28, Newcastle. Paul Smith, "Difference in America," Art in America, April, New York. 29

Joanna Isaak, "Women: The Ruin of Representation," Afterimage, No. 9, April, Rochester, New York. Roberta Smith, "Beyond Gender," The Village Voice, Jan. 22, No. 9. New York. John Welchman, "Art or Society: Must We Choose?" The Village Voice, March 26, New York. John Paoletti, "Mary Kelly's Interim," Arts, October, New York. Jane Wienstock, "A Post-Partum Document," Camera Obscura, Nos. 13 & 14, Los Angeles. Alice Bain, "Reflective Images," The List, Dec. Edinburgh. Edward Gage, "Feminist View of Perennial Theme," The Scotsman, Dec, Edinburgh. 1984

Lisa Appignanesi, ed., Desire, Institute of Contemporary Art, London. Craig Owens, "Posing," Difference (catalog), The New Museum of Contemporary Art, New York. John Paoletti, "Mary Kelly," The Critical Eye/I (catalog), Yale Center for British Art, New Haven. Kate Linker, "Eluding Definition" Artforum, December, New York. Sheena Gourlay, "The Discourse of the Mother," Fuse, Summer, Toronto. Caroline Osbourne, "The Post-Partum Document," Feminist Review, Winter, London. Deborah Bershad, The Post-Partum Document," Critical Texts, Columbia University. Lucy Lippard, Get the Message, E.P. Dutton, New York. Lisa Tickner, "Five British Artists," Difference (catalog), The New Museum of Contemporary Art, New York. Craig Owens, "The Discourse of the Others: Feminists and Post-Modernism," The Anti-Aesthetic, Hal Foster, ed., Bay Press, Washington.

1983

Freda Freiberg, "The Post-Partum Document: Maternal Archeology," Lip, No. 7, Melbourne. Lip Collective, "Dialogue," Lip, No. 7, Melbourne. Jane Wienstock, "A Laugh, A Lass, and A Lad," Art In America, Summer, New York. Kate Linker, "Representation and Sexuality," Parachute, No. 32, Montreal. Jean Fisher, London Review, Artforum, December, New York. Margaret Iversen, "Post-Partum Document und die Lageder Post-Moderne," Archithese, No. 5, Zurich.

1982

Lee Tulloch, "Biennale of Sydney," Art Forum, October, New York. Jo Anna Isaak, "Out Mother Tongue," Vanguard, Vol II, No. 3, Vancouver. Paul Smith, "Mother as the Site of Her Proceedings," Parachute, No. 26, Montreal.

1981

Elizabeth Cowie, "Introduction to the Post-Partum Document,” M/F, Nos, 5 & 6, London. 30

Margaret Inversen, "The Bride Stripped Bare by Her Own Desire," Discourse, No. 4, Berkeley. Rozsika Parker, Griselda Pollock, Old Mistresses: Women Art, and Ideology, Routledge and Kegan Paul, London. Andrew Kostolowski, Interview, Kracow Television, Poland. Helen Grace, "From the Margins: A Feminist Essay on Women Artists," Lip, No. 2, Melbourne. 1980

Richard Cork, "Collaboration without Compromise,” Studio International, No. 990, London. Judith Barry and Sandy Flitterman, "The Politics of Art Making," Screen, Vol. 21, No. 2, London. Lucy Lippard, "Issue and Tabu," Issue (catalog), Institute of Contemporary Art, London. Alexis Hunter, "Feminist Perceptions," Artscribe, No. 25, London.

1979

Mark Nash, "Mary Kelly," Un Certain Art Anglais (catalog), Arc II, Musee d'Art Moderne de la Ville de Paris. Michel Coutourier, Un Certain Art Anglais, French Program, BBC Radio Din Pieters. "Mary Kelly," Feministische Kunst International, The Hague Gemeentemuseum.

1978

Sarah Kent, "Mary Kelly," Time Out, No. 404. Sarah Kent, "Mary Kelly," Hayward Annual '78, (catalog), Arts Council of Great Britain. Terrance Maloon, "Mary Kelly," Artscribe, No. 13, London. Jane Kelly, "Mary Kelly" Studio International, No. 3, London. Mark Nash, "Mary Kelly at the Museum of Modern Art," Artscribe, No. 10, London.

1977

Jane Kelly, "Mary Kelly" Studio International, No. 1, London.

1976

Richard Cork, "Big Brother-and Mary Kelly's Baby," The Evening Standard, October 14. Caroline Tisdall, "Mary Kelly," The Guardian, October 16. Laura Mulvey, "Post-Partum Document," Spare Rib, No. 53, London.

1975

Rosalind Delmar, "Women and Work," Spare Rib, No. 40, London.

REVIEWS OF PUBLISHED WORKS 1999

Amelia Jones, “Imaging Desire by Mary Kelly,” Signs, Autumn

1998

Helen Grace, “The Impulse to Remember,” UTS Review (Australia) volume 4, number 1, Imaging Desire, MIT Press, 1996. Helen Molesworth, “Reassessing Feminist Theory,” Art Journal, volume 57, number 1, Imaging Desire, MIT Press, 1996.

1997

P.R.W., “Monographies/Monographs,” Parachute 88, Oct/Nov/Dec, Imaging Desire, MIT Press, 1996. 31

Molly Nesbit, Art Forum, Book Forum, winter, Imaging Desire, MIT Press, 1996. Sue Wrennall, Art History (U.K.), volume 20, number 4, December, Imaging Desire, MIT Press, 1996. Maria Walsh, “In the Face of Patriarchy,” Art Monthly, (U.K.), November, Mary Kelly, Contemporary Artists Series, London, Phaidon Press, 1997 and Imaging Desire, MIT Press, 1996. Katy Deepwell, N. Paradoxa, Mary Kelly, http://www.nparadoxa.com, (on line publication), (U.K.), third issue, May, Imaging Desire Mary Kelly: Selected Writings, MIT Press. Seattle Times, Sunday, November 30, Mary Kelly, Contemporary Artists Series, London, Phaidon Press, 1997.

ACADEMIC AND PROFESSIONAL SERVICE 2005

Visual Arts Sub-committee, Center for the Study of Women

2003 - 2005

Broad Art Center Committee, School of the Arts and Architecture, UCLA

2003 - 2005

Legislative Assembly

2003

LACMA Lab, expert panel to assess Michael Asher’s Student reinstallation project Symposium organizer, On Fidelity: Art, Politics, Passion, Event, with Judith Butler, Griselda Pollock, Peter Wollen, Mona Hatoum, Walid Raad, UCLA Department of Art and The Hammer Museum

2002

Interdisciplinary Lecture Series organizer, Ethics/Aesthetics, with Hans Haacke, Rosalind Deutsche, Gayatri Spivak, Giorgio Agamben, Alain Badiou, Slavoj Žižek, Department of Art, UCLA Arts, in conjunction with Department of Comparative Literature and Department of Germanic Languages, College of Letters and Science

2002

Visual Arts Subcommittee, School of the Arts and Architecture

2001

Selector, East International, Norwich Gallery, Norwich School of Art and Design, England (previous Selectors include Rudi Fuchs, Guiseppe Penone, Richard Long, Keith Piper)

2001

Symposium organizer, Geopoetics, with Fredric Jameson, Stan Douglas, Emily Apter, Isaac Julien, Victor Burgin, Department of Art, UCLA Arts & Architecture

2001 - Present Selection Committee, Ph.D. Programme in Fine Arts, Mälmo Art Academy, Lund University, Sweden 2001 - Present

New Wight Gallery Committee

2000 - Present Advisory Group, Independent Study Program, Whitney Museum of American Art, New York 2000

Search Committee, Professor, Photography, Department of Art, UCLA

2000

Symposium co-organizer with Victoria Vesna, Dematerialized Utopias, all-school millennium symposium, with Allucquere Rosanne Stone, George Lewis, Elizabeth Diller, Matt Mullican and Constance Penley.

1999 - Present 1999

Coordinator, Critical and Curatorial Studies

Symposium organizer, Image Trauma, with Parveen Adams, Barbara Kruger, Slavoj Zizek, Renée Green and Douglas Crimp, Department of Art, UCLA Arts & Architecture. 32

1999

Advisory Board, American Lacanian Link, University of California.

1998

Symposium organizer, What do pictures want?, with Laura Mulvey, Dan Graham, Catherine Opie, W.J.T. Mitchell and Homi K. Bhabha, UCLA Department of Art.

1998

Co-organizer with Paul Schimmel, Out of Actions: The Symposium, UCLA Department of Art and the Museum of Contemporary Art, Los Angeles.

1998

Search Committee, Chair, Department of Design, UCLA.

1998

Search Committee, Director, UCLA at the Armand Hammer Museum of Art and Cultural Center.

1998 - 2003

Board of Governors, Humanities Research Institute, University of California.

1997

Symposium organizer, On the Ugly, with Mark Cousins, Yvonne Rainer, Rosalind Krauss, Fred Wilson and Hal Foster, UCLA Department of Art.

1997

Review Committee, Department of Fine Arts, University of British Columbia.

1997 - Present

Advisory Board, Center for Modern and Contemporary Studies, UCLA.

1997 - Present

Advisory Board, Center for the Study of Women, UCLA.

1997

Search Committee, Professor, Contemporary Art, Department of Art History, College of Letters and Sciences, UCLA.

1996 - 00

Chair, Department of Art, UCLA

1996 - 00

Advisory Board, UCLA Arts & Architecture newsletter.

1994 - 95

Regents Lecturer, Department of Art History, UCLA.

1994

New Museum of Contemporary Art, Co-Curator, Who Chooses Who, Benefit Exhibition, Auction and Gala.

1994

Visiting Scholar, Department of Art History, UCLA.

1994

Awards Juror, 1994 Annual Fellowship Competition, The Art Institute of Chicago.

1994 - Editorial Council, The X Art Foundation, Blast, New York. 1993 - 95 1992

Artists Advisory Board, New Museum of Contemporary Art, New York.

Projects Juror, Graduate Program, School of Architecture, Princeton University.

1991 - 95

Benefactor, W.A.L., London.

1984 - 87

CNNA External Examiner, Brighton Polytechnic.

1983

Curator, Beyond The Purloined Image, Riverside Studios, London.

1982 - 86 1982

Advisory Board, M/F Magazine, London.

Selector, New Contemporaries, Institute of Contemporary Art, London.

1981 - 83

External Examiner, Royal College of Art.

1980 - 84

External Examiner, Slade School of Fine Art. 33

1979 - 81

Editorial Board, Screen Magazine.

1977 - 79

Visual Arts Panel, Greater London Arts Association.

1972 - 74

Chairman, Artists Union, London.

ACADEMIC POSITIONS 1996 - Present

Professor of Art and Critical Theory, Department of Art, UCLA

1996 - Present

Professor, Department of Art History, UCLA, Joint Appointment.

1989 - 96 Director of Studio, Independent Study Program, The Whitney Museum of American Art, New York. 1987 - 89

Visiting Professor, Post-Studio, California Institute of the Arts, Valencia.

1978 - 87

Lecturer in Fine Art, Goldsmith's College, University of London.

1974 - 78

Lecturer in Art and Art History, Camberwell School of Art and Craft, London Institute.

1972 – 74

Lecturer, Visual Research, London College of Furniture & Interior Design.

1965 – 68

Lecturer in Fine Art, College for Women, American University of Beirut.

OTHER TEACHING ACTIVITIES 2004

Honorary Visiting Professor of Fine Art and Theory, The School of Fine Arts, Art History and Cultural Analysis, University of Leeds, England

2002

Visiting Artist, Maine College of Art, Summer Intensive

2002

Guest Professor, Mälmo Art Academy, Lund University, Sweden

1998

Susan B. Anthony Visiting Scholar in Gender and Women's Studies, University of Rochester

1998

Vasari Professor, Academy of Fine Arts, University of Helsinki.

1997

Scholar-in-Residence, Queens University, Kingston, Ontario.

1997 - Present York.

Visiting Faculty, Independent Studio Program, Whitney Museum of American Art, New

1996

Guest Professor in Fine Art, Lund University, Mälmo Art Academy, Sweden.

1992

Guest Artist, Department of Sculpture, Cooper Union School of Art and Architecture.

1991

Visiting Artist, Department of Sculpture, Rhode Island School of Design, Providence.

1989 - 90

Director, Visual Art Intensive, Summer School, Simon Fraser University, Vancouver.

1985 - 89

Visiting Artists Seminar, The Whitney Museum Independent Study Program, New York.

1981

Visiting Artist, Intermedia, Nova Scotia College of Art and Design, Halifax. 34

PUBLIC LECTURES, CONFERENCES, SEMINARS 2005

InterReview, Launch Panel with Michael Asher, Mary Kelly, Annette Lemieux, Mountain Bar, Los Angeles Indexicality and Virtuality, Mary Kelly, Laura Mulvey, Trinh Minh-ha, Elizabeth Cowrie, Mark Nash; organized by Griselda Pollock, AHRB, Centre for Cultural Analysis, Theory and History, University of Leeds Mary Kelly: Notes on Gesture, Medium and Mediation, CENDEAC (Center for Documentation and Advanced Studies in Contemporary Art), Murcia, Spain Visiting Artist Lecture Series, San Francisco Fine Art Institute Visiting Artist Lecture Series, Goldsmiths College, University of London

2004

Mary Kelly: La Ballada de Kastriot Rexhepi (20 minute television interview), TV UNAM, Dirección General, Coordinación de Difusión Cultural, Ciudad Universitaria, Mexico City La Balada de Kastriot Rexhepi, Mary Kelly in conversation with Cuauhtémoc Medina, Jorge Reynoso, and Trisha Ziff at the Galera Central del MUCA, Mexico City Mary Kelly; Circa 1968 and After, Works in Progress Series, Getty Research Institute, Museum Lecture Hall, Getty Center, Los Angeles Mary Kelly Discusses Recent Work, Rose Hills Theater, Pomona College, Riverside Mary Kelly in conversation with Griselda Pollock, Centre for Cultural Analysis, Theory and History, University of Leeds, England Biennial Roundtable, Whitney Museum of American Art, New York, with Samuel Delaney, Kurt Andersen, Jonas Mekas and Adam Weinberg Otis College of Art and Design, Los Angeles Royal College of Art, London

2003

Theory as Practice, Otis College of Art and Design, Los Angeles, with Jon Wagner, Suzanne Lacy, Juli Carson “Mary Kelly on The Ballad of Kastriot Rexhepi,” School of Architecture and Allied Arts, Public Lecture Series, University of Oregon, Eugene Theory as Object: an exploration into the legacy and future use of poststructuralism and psychoanalysis, Session on Psychoanalysis and Art, Mary Kelly, Juliet Mitchell, Peter Hallward, Liam Gillick, Courtauld Institute of Art, London Museums of Tomorrow, online symposium sponsored by The Georgia O’Keeffe Museum Research Center; organized and moderated by Maurice Berger Fine Arts Department, University of Southern California Lecture Series, Women and Violence, Center for the Study of Women, UCLA

2002

Seminar with the Artist, Mary Kelly in conversation with Anthony Vidler, Walid Road, Roselee Goldberg, Emily Apter, presented by The Irwin S. Chanin School of Architecture of The Cooper Union, New York City

35

Vermeer in Bosnia: Thoughts on Art and Carnage Occasioned by the Work of Mary Kelly, lecture by Lawrence Weschler, followed by discussion with Mary Kelly, Santa Monica Museum of Art. Museums Beyond Modernism: Strategies of Engagement, keynote speaker, conference sponsored by York University in conjunction with The Art Gallery of Ontario. Book discussion series, Art, Architecture and Anxiety in Modern Culture, with Anthony Vidler, UCLA Center for European and Russian Studies Fine Art Graduate Seminar, Art Center College of Design, Pasadena Visiting Artist Lecture Series, California Institute of the Arts, Santa Clarita. Otis College of Art and Design, Los Angeles. Mary Kelly and Arianna Huffington, Members' Seminar, Santa Monica Museum of Art 2001

Millennium Public Lecture Series, organized by the Public Institute of Technology, Ireland, in conjunction with The Irish Times. Battlebag, RTE, National Radio Station, Dublin. Mary Kelly and Elsa Longhauser in Conversation, Santa Monica Museum of Art, Los Angeles. Visual Worlds, interdisciplinary conference organized by the Center for History, Society and Culture, University of California, Davis. Women Artists at the Millennium, conference sponsored by The Program in the Study of Women and Gender and the Department of Art and Archaeology, Princeton, University. Mary Kelly in Conversation with Tamar Garb, Artists Talk Series, Tate Britain, London Tableau Vivant, panel with Steina, Valie Export, Paul McCarthy, John Welchman, Santa Monica Museum of Art, Los Angeles. Royal College of Art, London

2000

Magic Slate, readings by Stephen Berens, David Bunn, Leslie Dick, Larry Rickels, Aimee Bender, Lynné Tillman, Mary Kelly, Museum of Contemporary Art, Los Angeles Images and Inspirations: Martha Rosler and Mary Kelly, in conjunction with the exhibition Defining Eye: Women Photographers of the Twentieth Century, UCLA Hammer Museum of Art and Cultural Center Lectures in Contemporary Art and Criticism, including Faith Wilding, Anne Wagner, Mignon Nixon, Griselda Pollock, Mary Kelly, Department of Art History, UCLA Investigating Time: Ancient to Modern, symposium in conjunction with the millennium exhibition, Tempus Fugit, The Nelson-Atkins Museum of Art, Kansas City.

1999

Practical Criticism: Art and Theory in the ‘90s, panel I, “Inseperable: Art and Critical Thought,” with Victor Burgin, Howard Singerman, Gennifer Gonzalez, Charles Gaines, organized by California Institute of the Arts, The Pacific Design Center, Los Angeles. American Lacanian Link Conference, session IV, “On the Subject of Art,” with Parveen Adams, Frances L. Restuccia, Graham Hammill, Krysztof Ziarek, University of California, Los Angeles. Fast Forward symposium, Kunstverein, Hamburg. 36

Art @ Work, symposium in conjunction with exhibition Social Process / Collaborative Action: Mary Kelly 1970-75, Leeds City Art Gallery. School of Fine Arts, University of Southern California. School of Fine Arts, Art History and Cultural Theory, Leeds University. Otis College of Art and Design, Los Angeles 1998

Vortrage zur Konzeption, zum Kontaxt und zur Historichen und Aktuellen Rezeption Von PostPartum Dockument conference with Griselda Pollack, Silvia Eibelmeyer, Juli Carson, Isabelle Graw, Generali Foundation, Wien. Women, Art and Activism, with Griselda Pollock and Sara Diamond, Edmonton Art Gallery. New Millennium, New Humanities conference in celebration of the Humanities Institute's Tenth Anniversary and Stoneybrook's Fortieth Anniversary, The Humanities Institute, State University of New York, Stoneybrook. Dialogues on Art, UCLA at the Armand Hammer Museum of Art and Cultural Center, Los Angeles. Drawing Across Boundaries Symposium, Loughborough University School of Art and Design, Loughborough, England. Artist's Talk Series, Whitney Museum of American Art. The Body Politic: What Happened to the Women Artists Movement? Panel, with Marcia Tucker, Nancy Spero, Mary Kelly, Venessa Beecroft, Renee Cox, Art Table, Inc., The New Museum of American Art, New York. University of Alberta, Canada. Department of Art History, University of California, Berkeley. Art Center College of Design, Pasadena, Fine Art Graduate Seminar hosted by Mike Kelley.

1997

Social Process/Collaborative Action 1970-75, Agnes Etherington Art Center, Queen's University, Kingston, Ontario. Subject to Desire: Refiguring the Body, 1997 Arts Now, State University of New York, New Paltz. Thinking Art Series, Institute of Contemporary Art, London. Anniversary 150, Architectural Association, School of Architecture. French Theory in America Symposium, with Richard Forman, Laura Cottingham, Sylvere Lotranger, The Drawing Center, New York. Imaging Desire, Ban Righ Foundation, Queen's University, Kingston, Ontario. Saturday Newswest, 6:00 & 10:00 PM, Canada. Monday "Wired" Arts and Entertainment Show, 10:30 PM Channel 7(cable), Channel 5 (non-cable), Canada. Miming the Master: Boy-Things, Bad Girls and Femmes Fatales, Center for the Study of Women, University of California, Los Angeles. Feminist Art Practices, San Francisco Museum of Modern Art. Centenniel Lecture Series, Institute of Contemporary Art, London. 37

Emily Carr Institute of Art, Vancouver, British Columbia. Architectural Association, London. Academy of Fine Arts, Munich. 1996

Body as Membrane, International Seminar on Body Art, Keynote Speaker, Kunsthallen Brandts Klaedefabrik, Odense.C., Denmark. The Picture of the Earth-Body and Image/Bild der Erde-Leib und Bild, Internationales Forschungszentrum Kulturwissenschaften, Vienna, Symposium. Collecting and Desire, Panel, College Art Association, Boston. Artists Lecture Series, Konsthall, Mälmo. Beyond the Rule symposium with Hal Foster, Slavoj Žižek, Thomas Laqueur, University of Lund, Mälmo Art Academy. The Body as Membrane, Interview, Danmarks Radio, Odense, Hanne Moller, Week-End Redak.P1. Yale University, New Haven, Department of Art. The Graduate School and University Center, City University of New York, Department of Art History. Rutgers, The State University of New Jersey, Department of Visual Arts Graduate Program, Visiting Artist Series. Lünd University, Department of Art History, Sweden.

1995

Mary Kelly On the Subjects of History, UCLA Department of Art History, Regents' Lecturer. Public Spheres and The Traffic in Media: Commodities, Bodies, and Globalization, "Gloria Patri: War, Masculinity, Women," Chicago Humanities Institute, University of Chicago. Pedagogical Ethics and the Supervisory Encounter, Keynote Speaker, University of Western Sydney. Public Education Program, Art Gallery of New South Wales, Power Institute of Fine Arts, Sydney. Trustees Seminar, New Museum, New York. Definitions of Visual Culture II: Modernist Utopias, Symposium with W.J.T. Mitchell, Rosalind Krauss, Benjämen Buchloh, Thierry De Duve, Musée D'Art Contemporain De Montréal. University of California, Los Angeles, Department of Art and Art History. Parsons School of Design, New York City, Department of Fine Arts, MPA Sculpture Program. California Institute of the Arts, Valencia, School of Art, Visiting Artist Program. Hobart and Williams Smith College, New York, Department of Art and Art History. Empire State College, New York. School of Visual Arts, New York City. New York University, MFA Visiting Artist Program. 38

University of Southern California, Visiting Artist Program. University of Western Sydney, Fine Arts Program. 1994

Kulturnytt interview by Karsten Thurfjell, News from the Arts, Swedish National Radio-Channel P1. Masculinity on Display, symposium featuring Mary Kelly and an interdisciplinary panel of USF scholars, Contemporary Art Museum, University of Southern Florida. Interim, lecture in conjunction with exhibition, Uppsala Konstmuseum, Sweden. Mary Kelly: 1973-89, symposium in conjunction with exhibition, Galleri F15 Alby, Norway. Un-Fixing Representation, a conference featuring Donna Haraway, Mary Kelly, Adam Frank, Eve Kosofsky Sedgwick, Peter Stallybrass, Timothy Mitchell and Patrick Brantlinger, University of North Carolina, Chapel Hill, (UN). Psychoanalysis, Spectatorship and Visuality, W. Hawkins Ferry Symposium, with Nancy Locke, Ewa Lajer-Burcharth, Mary Kelly, Emily Apter, Donald Kuspit, Joan Copjec, Michael Fried, Wayne State University, Michigan. Interim, with introductions by Depot. Mayor of the City of Helsinki, Mr antti viinikka, US Cultural Attache, Mr. Leslie Mcbee and Tuula Karjalainen, Director, Helsinki City Art Museum. Valopilkku, Tuulikki Islander, Director, TV-1, Helsinki (March). Statens Kunstakedmi, Oslo, Norway. Department of Photography, Goeteborgs Universitet, Sweden. The State University of New York at Stoneybrook, College of Arts and Sciences, Department of Art with the Center for the Humanities. University California, Los Angeles, Department of Art History. University of California, Los Angeles, Department of Art. Empire State College, New York City, Department of Art. University of Pennsylvania, Graduate School of Fine Arts. The Radcliffe Union of Students and Harvard University, Cambridge, Fine Arts Department. University of California, Irvine, Department of Fine Art. The School of Visual Arts, New York City, Graduate Fine Arts. University of Helsinki and the Christina Institute of Women's Studies.

1993

Gloria Patri, The Center for 20th Century Studies and Milwaukee Art Museum, University of Wisconsin. National Graduate Seminar, American Photography Institute, Tisch School of the Arts, New York University. Nightline, B.B.C. Radio, April 5. Arts Report, by Jill Pollock, Canadian Broadcasting Corporation, C.B.C. Radio, September 11. 39

Gloria Patri, Vancouver Art Gallery. Identity and Display, Association of Art Historians 19th, Annual Conference, Tate Gallery, London. Talking Art (Mary Kelly in conversation with Margaret Iversen), Institute of Contemporary Art, London. Fantasy and Desire, conference organized by Simon Watson, The New School, New York City. Art and the Left: a Critique of Power, B.B.C. British Open University's education television program. Bryn Mawr College, Department of History of Art. Massachusetts Institute of Technology, Department of Architecture. Columbia University, New York City, Department of English and Comparative Literature. Hunter College, City University of New York, Graduate Center. The University of Vermont, Department of Art. University of Maryland, Baltimore County, Visual Arts Department. Rutgers, The State University of New Jersey, Department of Visual Art. University of Wisconsin, Milwaukee, Center for Twentieth Century Studies, the Department of Art and Art History, and the Milwaukee Art Museum. The City University of New York, Queens College, Department of Art. Columbia University, New York City, School of the Arts, Visual Arts. Empire State College, New York City, Department of Art. Hobart and William Smith College, New York Program, Visual Arts. The School of Visual Arts, New York City, Graduate Fine Arts. California Institute of the Arts, Valencia, Department of Critical Studies and Fine Art Studio. University of California, Irvine, Department of Fine Art. 1992

Interim, Mackenzie Art Gallery, Saskatchewan, Canada. Visual Feminist Discourse, Symposium, Cornell University. Why Are We Still Using the Nude?, Symposium, Brown University. Keynote speaker, WASL Tenth Anniversary Conference, London. Symposion uber Fotografie XIII, Forum Stadtpark, Graz, Austria. Makstatt tolka Verkligheten, Moderna Museet, Stockholm, Congress. News from the Arts, Swedish National Radio - Channel Pl, for Kulturnytt interview, by Karsten Thurfjell. OBS Kultur Kvarten, interview by Annika Nordin, OBS-15 min. of Culture, Channel P1. 40

Voices, City University of New York, T.V. 14. Re-Presenting the Body, Konsthogskolan (The Academy of Art), arrangement by The Center for Women's Studies, The Association and Forum for Woman Studies and Woman Scholars, and the Institute for Art-History, Stockholm University. Rhode Island School of Design, Providence, Department of Photography. The School of Visual Arts, New York City, Graduate Fine Arts Visiting Artist Program. Columbia University, New York City, Department of Art History, Lunchtime Colloquium. Hunter College, City University of New York, Graduate Center. Leeds University, Department of Fine Art. 1991

Inaugural Speaker for the series Creating Woman, Rutgers, The State University of New Jersey, I.R.W. On the Coprophilic Imaginary, Nancy Duke Lewis Chair Series, Brown University. About Contemporary Photography, Symposium, Whitney Museum of American Art. Seminars with Artists Program, Whitney Museum of American Art. American Life and American Art: Selections from the Permanent Collection, Whitney Museum of American Art. Modern Art Practices and Debates: Art and Engagement Since the Second World War, British Broadcasting Corporation, B.B.C. New York Open University Production, Producer Nick Levinson. 1991 Biennial, Panel Discussion, Whitney Museum of American Art, New York. Mary Kelly in Conversation with Vera Frankel, Powerplant, Toronto Readings from Top Stories, The Kitchen, New York. The Politics of Images, The Tate Gallery, London. Princeton University, School of Architecture. The School of Visual Arts, New York, Graduate Fine Arts. University of North Carolina, Chapel Hill, Department of Art & Art History. University of Rochester, Comparative Literature and Art. Institut Fur Gegenwartskunst, Academie Der Bildensen, Vienna.

1990

Public Dialogue with Anne Ramsden, Vancouver Art Gallery. “Interim,” Arts Report, by Jill Pollock, Canadian Broadcasting Corporation, CBC Radio. Heresies Symposium, The Cooper Union, New York. Subjects of History, symposium in conjunction with the exhibition, Mary Kelly: Interim, participants: Hal Foster, Griselda Pollock, Emily Apter, Issac Julian, Laura Mulvey, Parveen Adams, New Museum of Contemporary Art, New York. 41

Mary Kelly: Interim, Vancouver Art Gallery. Pecunia Olet, Ear Inn, New York. Interim, Museum of Modern Art, New York. Meredith College, Department of Art, North Carolina. Hobart & William Smith College, New York, Department of Art. Rhode Island School of Design, Providence. The State University of New York, Stonybrook, Humanities Institute. Independent Art Schools Alliance, New York. 1989

Interim, Vancouver Art Gallery. Mary Kelly in Conversation with Griselda Pollock, Vancouver Art Gallery. Interim, C.E.P.A. Buffalo. Interim, Camerwork, San Francisco. Hunter College, City University of New York, Department of Art. The School of the Art Institute of Chicago, Visiting Artist Program. The Cooper Union School of Art and Architecture, New York. University of California, Santa Cruz, Department of Art History. University of California, Los Angeles, Department of Art History. Hobart & William Smith Colleges, New York, Department of Art. New York University, Department of Art.

1988

Criticism for the 90's: Theory/Practice, University of California, Los Angeles. Feminism and Post-Modernism, Society for Photographic Education, Houston. British Feminism, Susan B. Anthony Center, University of Rochester. Art Talk Art, Foundation for Art Resources, Los Angeles. The Critical Eye, Banff Centre, Alberta. Interim, Concordia University, Montreal. Yale University, New Haven, Department of Art and Art History. Mason Gross School of the Arts, Rutgers, The State University of New Jersey. Banff Centre, Fine Art Department. School of the Museum of Fine Arts, Boston. 42

1987

Psychoanalysis and Cultural Theory, Institute of Contemporary Art, London. Interim, Ontario College of the Arts. Interim, The Photo Co-op, London. State of the Art, Channel Four Television, London. State of the Art, The Tate Gallery, London. Why Psychoanalytic Criticism Now, Donald Kuspit, Chair, The Whitney Museum of American Art, New York. University of Colorado, Boulder, Department of Fine Art. University of California, San Diego, Department of Fine Art. Art Center College of Design, Pasadena. Byam Shaw School of Drawing & Painting, London.

1986

Psychoanalysis, Feminism and the Female Spectator, A Space, Toronto. Interim, The Art Gallery of Ontario, Toronto. Art at Issue, The Air Gallery, London. Interim, Riverside Studios, London. Interim, in conjunction with the exhibition, Mary Kelly, Interim, participants: Norman Bryson, Margaret Iversen, Elizabeth Cowie, Kettles Yard, Cambridge University. School of Fine Art, Chelsea College, London. Cambridge College of Art and Technology, Cambridge. Christies Fine Art Program, London. University of Ottowa, Ontario, Canada, Department of Fine Art. Brighton Polytechnic, School of Art and Design.

1985

The Interpretation of Abstraction, Robert Herbert, Chair, with Rosalind Krauss, Yves-Alain Bois, Anna Chave, Allen Sekula, College Art Association of America, Los Angeles. Post-Partum Document, Kettles Yard, Cambridge University. Interim, The Fruitmarket Gallery, Edinburgh. California Institute of the Arts, Valencia. Brown University, Center for Modern Culture & Media. Yale University, New Haven, Department of American Literature. University of Chicago, Department of Critical Studies. The School of Visual Arts, New York. 43

York University, Toronto, Department of Fine Art. 1984

The Sophie Kerr Lecture, Washington College, Maryland. Graduation Address, Nova Scotia College of Art and Design, Halifax. Sexuality, Representation, Power, College Art Association of America, Toronto. Women's Position in Language, Air Gallery, New York. Post-Partum Document, A Space, Toronto. The Critical Eye, Yale Center for British Art, New Haven. The Business of Making Art, Institute of Contemporary Art, London. Sexual Identity, New School for Social Research, New York. Ontario College of the Arts, Toronto. The Graduate Center, City University of New York. Wesleyan University, Department of Fine Art. Nova Scotia College of Art and Design, Halifax. California Institute of the Arts, Valencia. School of Fine Art, Chelsea College, London. The Royal College of Art, London. The Cooper Union School of Art and Architecture, New York. Whitney Museum of American Art Independent Study Program, New York. Mason Gross School of the Arts, Rutgers, The State University of New Jersey. York University, Toronto, Department of Sociology. Yale University, New Haven, Department of Art History. The Slade School of Fine Art, London.

1983

The Future of Film in Art Education, Middlesex Polytechnic, London. Culture and Feminism, Voices, Channel 4 Television, London. Readers and Writers Seminars, Institute of Contemporary Art, London. Desire and the Image, Institute of Contemporary Art, London. Camberwell School of Art and Craft, London. Nova Scotia College of Art and Design, Halifax. Whitney Museum of American Art Independent Study Program, New York. The Cooper Union School of Art and Architecture, New York. 44

The Royal College of Art, London. Central London Polytechnic, School of Communications. The Slade School of Fine Art, London. Brighton Polytechnic, School of Art and Design. 1982

Biennale of Sydney Forums, The Power Institute of Fine Art, University of Sydney. Post-Partum Document, National Art Gallery, Wellington. Modernist Criticism, 80 Langton Street, San Francisco. Sense and Sensibility, Midland Group Gallery, England The Royal College of Art, London. San Francisco State University. San Francisco Art Institute California Institute of the Arts, Valencia. The Power Institute of Fine Art, University of Sydney. Sydney College of the Arts. Melbourne State University, Department of Art History. University of Newcastle, School of Fine Art. University of Tasmania, Hobart, School of Fine Art. University of Christchurch, School of Fine Art. University of Auchland, School of Fine Art. Nova Scotia College of Art and Design, Halifax. The Slade School of Fine Art, London.

1981

9th Krakow Meetings, BYW, Krakow, Poland. Post-Partum Document, Anna Leonowens Gallery, Halifax. The Royal College of Art, London. The Slade School of Fine Art, London.

1980

Issue, Institute of Contemporary Art, London Portsmouth Polytechnic, Department of Fine Art. UCLA Programme, Cambridge University. The Slade School of Fine Art, London. 45

1979

Art, Politics, Ideology, Dartington College of Arts, Totnes. Post-Partum Document, University Gallery, Leeds. Post-Partum Document, New 57 Gallery, Edinburgh. Reading University, Department of Fine Art. Leeds University, Department of Fine Art. Ruskin School of Drawing and Painting, Oxford. The Slade School of Fine Art, London. Byam Shaw School of Drawing & Painting, London.

1978

Culture, BSA Conference, Sussex University. The State of British Art, Institute of Contemporary Art, London. Post-Partum Document, Hayward Annual Symposium, Hayward Gallery, London. Trent Polytechnic, Department of Fine Art. West Surrey College of Art and Design. Art and Design Center, Northern Ireland Polytechnic, Belfast. Reading University, Department of Fine Art. Norwich College of Art. The Slade School of Fine Art, London.

1977

Art and Politics, Air Gallery, London. Post-Partum Document, Museum of Modern Art, Oxford. The Royal College of Art, London. Ruskin School of Drawing and Painting, Oxford. West Surrey College of Art and Design. Central London Polytechnic, School of Communications. Reading University, Department of Fine Art. The Slade School of Fine Art, London.

1976

Psychoanalysis and Feminism, symposium in conjunction with the exhibition, Mary Kelly: PostPartum Document, participants: Laura Mulvey, Parveen Adams, Institute of Contemporary Art, London. Dartington College of Art, Totnes. The Slade School of Fine Art, London. Kingston Polytechnic, Department of Fine Art. 46

1975

Sexuality and Socialization, Newcastle University. The Slade School of Fine Art, London. Portsmouth Polytechnic, Department of Fine Art. Maidstone College of Art, Kent.

1974

Art, Theory, Politics, Practice, The Royal College of Art, London.

47

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mary kelly - Postmasters Gallery

P OSTMASTERS GALLERY 459 west 19th Street New York, NY 10011 212-727-3323 www.postmastersart.com [email protected] MARY KEL LY Studied at St. Mar...

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