MUSIC: Comptine d'un Autre Ete L'Apres Midi - Amelie soundrack (X:XX)

SUPER: Influences

SUPER:
Hans Haacke
Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971

VO: Kelly's work is influenced by minimalist and conceptual art, as well as film and photography. Kelly found Hans Haacke's Shapolsky piece to be similar to what she wanted to accomplish in Women and Work

SUPER: Jean-Marie Straub, Othon, 1969, film still

VO: Kelly writes that Jean-Marie Straub's film Othon of 1969 was very influential to her in conceiving Post-Partum Document

SUPER: "... formally, when I saw Straub and Hillet's Othon, the long take going into Rome - you know they run the whole reel, it's ten minutes - I was knowed out, it just took my breath away, and I thought: why should all the interesting work be in film? Why can't you do that in an exhibition?"

SUPER: Joseph Kosuth, Chair, 1965

VO: Conceptual work such as Joseph Kosuth's Chair

SUPER: Joseph Kosuth, Art as Idea: Nothing, 1968

VO: and Nothing

SUPER: Victor Burgin, Life Demands a Little Give and Take, 1974

VO: Victor Burgin

SUPER: Glenn Ligon, Baldwin #4, 1981

VO: Glenn Ligon explored the use of language as a way to investigate "the conditions of the existence of the object"

SUPER: Post-Partum Document, Postscriptum, 1979

VO: Kelly obviously identified with the use of language and text in these works, but added the political dimension of what she calls "including subjectivity or sexual difference in the interrogation" In this work, a "postscriptum" to the Post-Partum Document, Kelly's writing is intended to be read and interpreted, unlike Kosuth's work where the text is merely a stand-in for the art object

VO: Kelly's work is associated with the work of "second generation" feminist artists that moved away from the body-based work of the first generation of feminist artists such as Carolee Schneeman and Hannah Wilke

SUPER: Carolee Schneeman, Eye Body, 1963

SUPER: Hannah Wilke, Super-t-Art, 1974

VO: Kelly's work has more in common with that of Jenny Holzer, Judy Chicago, and Barbara Kruger, artists who were concerned that viewers would not be able to distinguish from images and symbols for the woman, and images and symbols of the woman.

SUPER: Jenny Holzer, Truisms, 1977-79

SUPER: Judy Chicago, The Dinner Party, 1979

SUPER: Barbara Kruger, We Are the Objects of Your Suave Entrapments, 1984

SUPER: Interim, Part I, Corpus, 1984-85

VO: Like Chicago, Holzer and Kruger, Kelly uses text and language coupled with objects or imagery to question the traditional role of women