IDENTITIES

october 1997 / planet of the arts 29

Portrait Of An Artist After Choice

Mary Kelly And The

istoricization of C

by Judith Mastai

Historians endlessly establish contingent time through archeology; they produce the
past by virtue of practicing arcane crafts of resurrection, animation, and even ven-

triloquism.'

My purpose is to trace the early work of Mary Kelly. Recent exhibitions which have includ-
ed Kelly’s work’ indicate a general confusion about its place in the project-.of historicizing the
seventies. Yes, it is feminist; but is it conceptual? Part of the problem arises from the fact that
little is known of her work before Post-Partum Document. The exhibition Social
Process/Collaborative Action: Mary Kelly 1970-75 and accompanying catalogue set out to
address this lack. From a broader understanding of Kelly’s oeuvre, it is hoped that the project
of historicizing her work will be facilitated and thatit will be seen as part of the complex and

overlapping concerns of the period around conceptual art and feminist theory and practice.

Mary Kelly: Early Days

Kelly is an American artist, who lived and worked in London, England from 1968-1987.
After post-graduate training in painting in Florence, Italy, she took up a post as an instructor
at the American University in Beirut in 1967. While in Lebanon, Kelly produced and exhibit-
ed a series of relief paintings which pushed the envelope of Greenberg’s formalist definitions
of the difference between painting and sculpture. In the invitation to the exhibition at the
Jafet Memorial Library in June 1968, Kelly wrote:

The works on exhibit began with a series of minimal line drawings based on varia-
tions of the human figure. Although I was attracted to their intimacy, they seemed
too private, too introverted and generally limited in terms of making a definite visu-
al impact. In an attempt to ‘materialize’ the image while conserving at least the illu-
sion of linear progression, I decided to work with wood; cutting the general shape
mechanically, carving the final details manually, and then giving the surface a calm,
mat (sic) finish with vinyl-latex. I wanted to explore the psychological effects of the
figure variations as well as the physical possibilities of relief and finally let the form
break the boundaries of a ‘literal’ picture frame.”

In 1968, she moved to London and began further post-graduate training at St. Martin’s
School of Art. Here Kelly extended her studies of abstraction and the female form, moving
entirely into three-dimensional works as well as creating An Earthwork Performed with
Stephen Rothenberg at the London New Arts Lab. In an exhibition of work by Senior
Overseas painting students at St. Martin’s in 1970, an art critic known only as J.G. had this to
say of Kelly’s work:

Her multi-layer ‘prints’ on perspex, based on a mosque plan, show an integrity of
style and disciplined colour which is outstandingly mature.”

At this time, Kelly’s engagement with leftist politics in the Middle East, brought her into
contact with members of the New Left in London and particularly the Women’s Liberation
movement. One of her early pieces of writing, on “National Liberation and Women’s
Liberation,” which appeared in Shrew, charts these interests.

Fundamental to the development of the Women’s Liberation Movement in Britain at the
time was the formation of Gramscian-style, community-based study and support groups
which aimed to provide a place for women’s voices to be heard through local discussion of
shared experiences and study of important texts which formed the basis for analysis and
debate about class, society and women’s roles.

I would like to stress the importance of reading at this time. Reading, study and discus-
sion had great importance for the post-war generation, interested in the revolutionary possi-
bilities of social change at a time of relative economic plenty. In particular, in post-war
Britain, a task force on art school education resulted in the Coldstream Report,° which gave
autonomy to art schools to devise their own curricula, rather than establishing centralized,
national curriculum guidelines. This was the environment in which, for instance, the Art and
Language collective, as instructors and students at the Coventry School of Art, had developed
an Art Theory course in the late sixties, based on their own programs of reading and conver-
sation.’ Likewise, through reading and study groups on Women’s Liberation, women’s health,
history, unionization and the arts, Kelly met other women equally committed to social
change. A familiar expression at the time was “the personal is political” and, like others, Kelly
was motivated by this ideology to experiment in many facets of her life: as a student during
the turbulent days of the actions at Hornsey and Guildford Colleges of Art, as a founding
member and first president of the Artists’ Union and a founding member of the Women’s
Workshop of the British Artists’ Union, in her home life, in her teaching and in her work as
an artist. For women, reproductive rights were at the top of the liberationist agenda, and the
roles of women and men in relation to childcare and the family was of particular interest to
Kelly as, in the midst of her other activities, she contemplated parenthood. In every way, her

interests and her work reflected her ideological commitment and political engagement.

Three Exhibitions, Three Readings

Of the many conundrums around the historicization of conceptual art, one important
issue seems to be the question of its aesthetic formations. In addition to the writing that is
being done about this time, if one attends to the ways in which works from this period are
exhibited, there is, gratefully, still much confusion, suggesting that the narrative(s) of con-
ceptual art are yet not fixed.

Kelly’s most renowned work, Post-Partum Document, was begun in the early seventies in

onceptual Art

response to the birth of her son. The first sections of the
work were made in 1973 and it was completed by 1975.
From June through December 1995, I had occasion to trav-
el to three locations, in three countries, where I viewed
four sections of the Document. In each case, the context for
the work’s exhibitor reflected particular but different,
underlying curatorial theses about the meanings and posi-
tioning of Kelly’s work. In July, at the Art Gallery of
Ontario in Toronto, Documentation 11: Analyzed utterances
and related speech events (1975) was hung on a wall beside
Joseph Kosuth’s Jasper Johns (Art as Idea as Idea) (1968).
Opposite were a Robert Ryman white painting, Untitled
(Baser) (1969) and Untitled #8 (1977) by Agnes Martin; in
the centre of the room, a three-dimensional sculpture,
Open Modular Cube (1966) by Sol LeWitt; on one wall
across the room, Untitled (1968), one of Donald Judd’s wall

sculptures, a column of stainless steel and plexiglass boxes;

. on another, Glass Piece (1978-79) by Canadian artist Jackie

Winsor. This curator seemed to have grouped these works
in relation to a narrative of minimalist aesthetics.

At the Tate Gallery, in London, Documentation 111:
Analyzed markings and diary — perspective schema (1975) of
Kelly's Document hung in a room titled “Comment and
Commitment: Art and Society 1975-90,” along with works

by Cindy Sherman, Hans Haacke and Lothar Baumgarten.

Mary Kelly and son Kelly Barrie
Recording session for Post-Partum Document
Alderney Street, London, England, 1975

The wall didactic read: “The American and European
avant-garde art movements of the sixties emphasized idea
and process over the conventions of painting and sculp-
ture,” and went on to indicate that this hang was based on
a reading of these artists’ works as issue-oriented. Looking
around the room, a viewer could ascribe any number of
issues to the works in the room — the relationship of art to
politics or to advertising, exploration of female subjectivi-
ty, and the use of written text as a strategy of intervention,
to insert analytical readings in relation to visual images.

In November, at the Los Angeles Museum of
Contemporary Art, I viewed the Introduction to the
Document, Folded Vests (1973) in an exhibition of feminist
works entitled “Division of Labour: ‘Women’s Work’ in
Contemporary Art.” The room in which Kelly’s work
appeared, along with Martha Rosler’s Tiajuana Maid
(1975-6), held works grouped according to their material
properties; made from different kinds of fabrics and bits of
clothing, like the reconstruction of Sherry Brody’s Lingerie
Pillow (1972). Presumably, this particular work of Kelly’s
was installed here because of the material fact that it
includes cotton baby vests, But I questioned why Kelly’s
work or Rosler’s, for that matter, hadn’t been included in
exhibition at the

the simultaneous Temporary

Contemporary of conceptualist works from the same peri-

IDENTITIES

‘october 1997 / plonet of the orts 29

Portrait Of An Artist After Choice

Mary Kelly And The
Historicization of Conceptual Art

by Judith Mastai

Historians endl exalt contingent time through archeology they proce the
Past by virtue of practicing arcane crafts of resurrection, animation and even ve

telus!

‘My purpose sto trace the carly work of Mary Kelly. Recent exhibitions which have includ
ing the
ofthe problem arises from the fact hat

‘ed Kellys work” indicatea general confusion about its place inthe projet of histo

seventies, Yes itis feminist but iit conceptual
Tile is known of hee work before. Pox-Partum Document, The exhibition Social
ProcesfCllaborative Action: Mary Kell 197-75 and accompanying catalogue set out to
addres this lack. From a broader understanding of Kells oeuvre, itis hoped thatthe project.
‘of hitoriciing her work wil be facilitated and that it wil be seen as pat ofthe complex and

‘overlapping concerns ofthe period around conceptual rt and feminist theory and practice

Kelly isan American artist, who lived and worked

in London, England from 1968-1987
After postgraduate traning in panting in Florencs, Italy, she took up a posta an instructor
at the American University in Beirut in 1967 While in Lcanon, Kelly produced and exhibit
‘eda series of rele paintings which pushed the envelope of Greenberg’ formals definitions
‘ofthe diference between painting and sculpture. Inthe invitation to the exhibition atthe
Jaf Memorial Library in June 1968, Kelly wrote:

The works on exhibit began with a series of minimal line deswings Based on vars

3 the human figure. Although I was atractedt thee intimacy, they seemed
too private too introverted and generally limited in ermsof making dfn vs

AMlipact nan aternt to Tatra’ the image while conserving at est.

hei
sion of near progression, I decided to work with woods cttng the general shape
mechanically carving the final details manvaly and then ving the surface calm,

‘at (se) finish wth vny-latx. 1 wanted 0 expore the pychoogi effects ofthe
Figure variations aswell asthe physical posits of ele and inal et the form

break the boundaries ofr picture frame:

1968, she moved to London and began further post-graduate training at St, Martin's
‘School of Art. Hee Kelly extended her studs of abstraction andthe female form, moving
‘ntirely into three-dimensional works as well as creating An Earthwork Performed with
‘Stephen Rothenberg atthe London New Arts Lab, In an exhibition of work by Senior
‘Overseas panting students at St Martin's in 1970, an art titi known only a8 1. ad this to
say of Kellys work

Her multilayer print’ on persper, bated on a moe plan, sow an integrity of
style and dsiplined clove which is outstandingly mature

stim Kellys engagement with lst politics inthe Middle East brought her into
‘contact with members ofthe New Left in London and particularly the Women's Liberation
‘movement. One of her early pieces of writing, om “Nati
Literation’ which appeared in Slrew.° chars these interests

Fundamental othe development ofthe Womens

time was the formation of Gramscan-sye, community-based study and support groups
hich aimed to provide a place for women's voces to be heard theough lea dscusion of
shared experiences and study of important texts which formed the bass for analysis and
Aebate about class, society and women's roe.

al Liberation and Womens

eration Movement in Britain atthe

| would like to stress the importance of reading a this time. Reading, study and dscus-

‘war generation, intrested inthe revolutionary possi-
‘ime of relative economic plenty. In particular, in post-war
Britain, task force on art school education resulted inthe Coldstream Report.* which gave
autonomy to art schools to devise their own curicula, rather than establishing centralized,
national curriculum guidelines. This was the environment in which fo nstanes, the Art and
Language collective as instructors an student at the Coventry School of Art, had developed
an Art Theory course inthe late satis, based on their own programs of reading and cover

sion had great importance forthe po

bilities of social change at

Likewise through reading and study groups on Womens Liberation, women's health,
history, unionization and the arts Kelly met other women equally committed to social
change. falar expression atthe time was"the personal is political” and, ike others Kelly
‘was motivated by this ieology to experiment in many facets of her if: a a student during
the turbulent days of the actions at Hornsey and Guildford Colleges of Art sa founding
member and first president of the Artis’ Union and a founding member ofthe Women's
Workshop of the British Artists Union, in her home lin he teaching and inher work as
st. For women, reproductive rights were tthe top ofthe liber

roles of women and men in relation to childcare and the fly was of particular interes to
Kelly ain the midst of her other activites, she contemplated parenthood. In every ways her
imterests and her work reflected her ideological commitment and politcal engagement.

tions agends, andthe

‘Three Exhibitions, Three Readings

(Of the many conundrums around the historcization of conceptual art, one important
‘sue seems to be the question of its aesthetic formations. In ation to the writing tat i
being done about this time, fone attends tothe way in which works from this prio ate
exhibited ther is, gratefilly, til much confusion, suggesting thatthe narrative) of con:
cepiual at are yet not xed

Kel’ most renowned work, Pst-Partum Document, was Begun in the early seventies in

response tothe birth of her son. The ist sections of the
work were made in 1973 and it was completed by 1975.
From June through December 995, I had occasion to trav
‘to thre locations, in three countries, where I viewed
{our sections of the Document. In each case, the context for
the works exhibitor reflected particular but diferent,
‘underlying curatorial theses about the meanings and pos
tioning of Kellys work In fly atthe Art Gallery of
‘Ontario in Toronto, Documentation 11: Analyzed uterances
and related speech events (97) was hung on a wall beside
Joseph Kosuh’s Jasper Jos (Art a Hea as dea) (1968)
‘Opposite were a Robert Ryman vite painting, United

(aser) (1969) and Untitled #8 (1977) by Agnes Martin; in
the centre of the room, a three-dimensional sculpture,
‘Open Modular Cube (396) by Sol LeWitt; on one wall
actos the room, Untied (3968), one of Donald Judas wall
sculptures. a column of stainless tel an plexiglass boxes
‘om another, Glass Pic (178-79) by Canadian artis Jackie
‘Winsor. This curator seemed to have grouped these works

in elation to a narrative of minimalist aesthetic.
AX the Tate Gallery in London, Documentation 111
Analyzed markings and dary ~ perspective schema (975) of

Kells Document hung in room tiled “Comment and
Conmitnen: Art nd Society 1975-90" along with works

by Gindy Sherman, Hans Haacke and Lothar Baumgarten

Mary Kel and son Kely Borie
Recording session for Post Partum Document
‘Aldemey Steet, London, England, 1975.

‘The wall didactic read: “The American and European
avant-garde art movements ofthe sites emphasized idea
and proces over the conventions of painting and sculp-
ture" and went on to indicate tha this hang was bas on
4 reading ofthese artists’ works a isue-orented, Looking
around the oom, a viewer could ascribe any number of
issues to the works in the room =the rationshp of art to
politics orto advertising exploration of female subjectivi
ty.and the use of writen text asa strategy of intervention,
to insert analytical readings in relation to visual images,
In November, at the Los Angeles. Museum of
Contemporary Art, I viewed the Introduction to the
Document, Folded Vests (1973) in an exibition offerinst
works entiled “Divison of Labour: ‘Women's Work in
Contemporary Art” The room in which Kelly’ work
appeared, along with Martha Rosler's Tijuana Maid
(0975-6), held works grouped according to their material

properties; made from diffrent kind of fabrics and bis of
clothing like the reconstruction of Sherry Brody’s Lingerie
Pillow (973)

was installed here because of the material fict that it

Presumably, this particular work of Kelly's

includes cotton baby vests, But I questioned why Kellys
work or Rose’, fo that mater, hadat been included in
the simultaneous

exhibition at the Temporary

Contemporary ofconceptslst works frm the same pri