Mary Kelly (b. 1941) is an American conceptual artist. Her work is frequently text-based, or text-heavy, with what she describes as “a specific relation between the meaning of the text, its materiality, and the site.”  It is also highly theoretical, reflecting her second occupation: Professor of Art and Critical Theory at UCLA.
The image to the right is a detail from Post Partum Document, a six-part installation that documented Kelly’s relationship with her son from birth to age 6. Post-Partum Document became a seminal work of “feminist art” – although Kelly herself prefers to think of it as “art informed by feminism.”  Post Partum Document is seen as a physical testament to the feminist slogan “the personal is the political”; the work has been perceived as a political statement because it brought “private” elements of female experience – aspects of womanhood that have historically been marginalized – into a public space. When the installation was first shown at the Institute of Contemporary Arts (London) in 1976, Post Partum Document was considered highly controversial. Viewers were shocked by the display of dirty diapers, obsessive diary notes, and other material artifacts of motherhood.
Here, a soiled diaper on which Kelly has neatly typed the date, information about her son’s nutritional intake, and details of his bowel movements. Kelly’s obsessive documentation suggests maternal fetishization of the child, but Kelly ultimately investigates herself more thoroughly than her child. Her exploration of the everyday rises to the level of art precisely because of, rather than in spite of, its banality. Kelly’s compulsive, comprehensive attention to minutiae recharacterizes the value of “women’s work” by transforming it into “artist’s work.”