Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took place in February 2011 at the Whitworth Gallery, Manchester, surrounded by a large selection of her work during the Mary Kelly: Projects, 1973-2010 exhibition. Kelly’s oeuvre is undoubtedly diverse and progressive, but it is also coherent and interconnected. During our dialogue, Kelly reflected on her approach to art-making; making links between her works, connecting her projects across time and space. What follows is a hybrid text containing extracts of the conversation with Kelly and some observations made after reading the full transcript. The overall piece contemplates the connections across Kelly’s work and specifically draws attention t...
Speaking of Art contains eleven of my interviews with artists (comprising just over a quarter of the...
Color reproductions of paintings by Kaitlyn and Martha Miller. Introductory text briefly explores th...
The project explored the hypothesis that meaning, within contemporary painting practice, is embedded...
Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took ...
Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took ...
Originally published in the art magazine Art Monthly in 2011, this interview with the artist Mary Ke...
The 1970s womens art movement is a foundational influence in transnational contemporary art. Develop...
By introducing woman, i.e. the notion of gender into the history of art and cultural studies, a batt...
Transcript of a semi-informal public conversation between Pollock and Kelly with contributions from ...
This text was commissioned by Matt's Gallery on the basis of Withers' previous experience in recordi...
Documenting Kelly's work from 1970-1975, these essays call attention to overlapping concerns surroun...
Tucker provides an overview of Kelly's four-part work which explores the subjectivity of the aging w...
Following her pursuit of a radical practice based on psychoanalytical theories, LA-based Mary Kelly ...
Eventually Everything Connects (2015) Can new artwork be produced through a reflective and critical...
American artist Judy Chicago once told another artist, Helen Million Ruby, that she had to choose be...
Speaking of Art contains eleven of my interviews with artists (comprising just over a quarter of the...
Color reproductions of paintings by Kaitlyn and Martha Miller. Introductory text briefly explores th...
The project explored the hypothesis that meaning, within contemporary painting practice, is embedded...
Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took ...
Presented below are extracts from a conversation with the contemporary artist Mary Kelly which took ...
Originally published in the art magazine Art Monthly in 2011, this interview with the artist Mary Ke...
The 1970s womens art movement is a foundational influence in transnational contemporary art. Develop...
By introducing woman, i.e. the notion of gender into the history of art and cultural studies, a batt...
Transcript of a semi-informal public conversation between Pollock and Kelly with contributions from ...
This text was commissioned by Matt's Gallery on the basis of Withers' previous experience in recordi...
Documenting Kelly's work from 1970-1975, these essays call attention to overlapping concerns surroun...
Tucker provides an overview of Kelly's four-part work which explores the subjectivity of the aging w...
Following her pursuit of a radical practice based on psychoanalytical theories, LA-based Mary Kelly ...
Eventually Everything Connects (2015) Can new artwork be produced through a reflective and critical...
American artist Judy Chicago once told another artist, Helen Million Ruby, that she had to choose be...
Speaking of Art contains eleven of my interviews with artists (comprising just over a quarter of the...
Color reproductions of paintings by Kaitlyn and Martha Miller. Introductory text briefly explores th...
The project explored the hypothesis that meaning, within contemporary painting practice, is embedded...