Contributors

In the four works that comprise Love Songs, I am trying to describe what is left after the specific demands of the moment have faded and what, if anything, is passed on from one generation to the next. Rather than a nostalgic invocation of the 70s, I want a performative synthesis of the past in the present that explores my own as well as the performers' imaginary investment in the historical legacy of sexual politics.

Flashing Nipple Remix, a series of black-and-white transparencies in light boxes, records choreographic improvisations on a snapshot of street theater performers at the 1971 Miss World protest at the Albert Hall in London. WLM Demo Remix, a 90-second film loop, uses a slow dissolve to bridge past and present representations of the 1970 Women's Liberation demonstration, marking the 50^th anniversary of the 19^th Amendment, in New York City. Sisterhood Is POW, a 72-foot narrative illuminated by strip lighting, replays the irreverent recollections of participants in the Miss World protest, and a shorter work, Seemed Right, highlights phrases most often repeated in numerous interviews with women about the impact of these events on their lives.

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Figure 0.

Cover: Mary Kelly, Sisterhood Is POW . . . (2005)
36 units, laser-cut cast acrylic, linear strip lighting, wood support
15 x 20 and 24 x 20 inches each, 72 feet overall
Courtesy Postmasters Gallery, New York
(Page C3)

Figure 1.

Mary Kelly, WLM Demo Remix, DVD projection (2005)
90-second black-and-white film loop, dimensions variable
Courtesy Postmasters Gallery, New York
(Page 2)

Figure 2.

Mary Kelly, WLM Demo Remix, detail (2005)
90-second black-and-white film loop, dimensions variable
Courtesy Postmasters Gallery, New York
(Page 12)

Figure 3.

Mary Kelly, Seemed Right (2005)
3 units, laser-cut cast acrylic, linear strip lighting, wood support
15 x 20 and 24 x 20 inches each, 6 feet overall
Courtesy Postmasters Gallery, New York
(Page 26)

Figure 4.

Mary Kelly, Flashing Nipple Remix (2005)
3 black-and-white transparencies in light boxes
38 x 48 x 5 inches each
Courtesy Postmasters Gallery, New York
(Page 39)

Figure 5.

Mary Kelly, Flashing Nipple Remix, detail (2005)
3 black-and-white transparencies in light boxes
38 x 48 x 5 inches each
Courtesy Postmasters Gallery, New York
(Page 65)

Figure 6.

Mary Kelly, Flashing Nipple Remix, detail (2005)
3 black-and-white transparencies in light boxes
38 x 48 x 5 inches each
Courtesy Postmasters Gallery, New York
(Page 73)

Figure 7.

Mary Kelly, Flashing Nipple Remix, detail (2005)
3 black-and-white transparencies in light boxes
38 x 48 x 5 inches each
Courtesy Postmasters Gallery, New York
(Page 81)