Professor, Interdisciplinary Studio Area Head

Andrea Fraser has been identified with institutional critique, feminist practice, group relations, project-based art, and context art. She has worked in performance, video, installation, sound, text, and a range of other mediums.

Major works include projects for the Berkeley Art Museum (1992); the Kunstverein Munich (1993); the Venice Biennale (Austrian Pavilion, 1993)); the Whitney Biennial (1993, 2012); the Generali Foundation, Vienna (1995); the Kunsthalle Bern (1998); the Sprengel Museum Hannover (1998); the Bienal de São Paulo (1998); the Tate Modern (2007) and the Whitney Museum of American Art (2016). She has created performances for the New Museum of Contemporary Art, New York (1986); the Philadelphia Museum of Art (1989); the Wadsworth Atheneum, Hartford (1991); inSITE, San Diego/Tijuana (1997) ; the MICA Foundation, New York (2001); Pacific Standard Time, Los Angeles (2012), and Prospect, New Orleans (2014). She also has performed solo work at the the Centre Pompidou, Paris; the Dia Art Foundation, New York; the Institute of Contemporary Art, Boston; the Museum of Contemporary Art, Los Angeles; the Museum of Modern Art, New York; the Museum of Modern Art, Vienna; the San Francisco Museum of Modern Art; the Volksbuene, Berlin; and the Whitechapel, London and other venues.

Surveys of her work have been presented by the Belkin Art Gallery, University of British Columbia (2002); the Kunstverein Hamburg (2003); the Kemper Art Museum, Washington University (2007); the Franz Hals Museum in Haarlem2007); and the Carpenter Center, Harvard University (2010). Major retrospectives of her work have been organized by the Museum Ludwig Cologne (2013); the Museum der Moderne Kunst Salzburg (2015); and the Museum of Contemporary Art Barcelona with the MUAC UNAM Mexico City (2016).

Her essays and performance texts have appeared in Adbusters, Afterimage, Artforum, Art in America, Critical Quarterly, Documents, Grey Room, October, Social Text, Texte zur Kunst, and other publications. Her books include Andrea Fraser: Works 1984-2003 (Dumont and Kunstverein Munich, 2003); Museum Highlights: The Writings of Andrea Fraser (MIT Press, 2005); Texts, Scripts, Transcripts (Walther Koenig Verlag and Museum Ludwig Cologne, 2013); and Andrea Fraser (Hatje Cantz and Museum der Moderne Salzburg, 2015).

Fraser was a founding member of the feminist performance group, The V-Girls (1986-1996); the project-based artist initiative Parasite (1997-1998); the cooperative art gallery Orchard (2005-2008); and Artists Political Action Network (2016). She was also co-organizer, with Helmut Draxler, of Services, a “working-group exhibition” that toured to eight venues in Europe and the United States between 1994 and 2001.

Fraser has received grants from Art Matters, Inc. (1987, 1990, 1996), the Franklin Furnace Fund for Performance Art (1990), the New York Foundation for the Arts (1991), the National Endowment for the Arts (1991), Anonymous Was a Woman (2012) and Foundation for Contemporary Arts (2017). She was the recipient of the 2013 Wolfgang Hahn Prize, awarded by the Gesellschaft für Moderne Kunst am Museum Ludwig Köln, and the 2016 Oskar Kokoschka Prize, awarded by the Austrian Bundesministerium für Wissenschaft und Forschung.


Distinguished Professor Emerita, Interdisciplinary Studio

Mary Kelly is known for her project-based work addressing questions of sexuality and identity in the form of large-scale narrative installations. Her exhibitions include retrospectives at Moderna Museet, Stockholm; the Whitworth Art Gallery, Manchester; the Centre for Contemporary Art, Ujazdowski Castle, Warsaw. She has had solo shows at Museo Universitario de Ciencias y Arte, Mexico City; the Santa Monica Museum of Art; the Generali Foundation, Vienna; New Museum of Contemporary Art, New York; the Power Plant, Toronto; the Vancouver Art Gallery; Konstmuseet Malmö; Helsinki City Art Museum; the Institute of Contemporary Art, London; and the Museum of Modern Art, Oxford.

Selected group exhibitions include An Incomplete History of Protest, Whitney Museum; Conceptual Art in Britain, 1964-79, Tate Britain; Take it or Leave It, Hammer Museum Los Angeles; Ends of the Earth, MOCA Los Angeles and Kunsthaus, Munich; This Will Have Been, MCA Chicago, Walker Art Gallery, Minneapolis and Institute of Contemporary Art, Boston; 2008 Biennale of Sydney, Gallery of New South Wales; Documenta 12, Kassel; WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles; Academy, Museum van Hedendaagse Kunst, Antwerp; Occupying Space, Haus der Kunst, Munich; NowHere, Louisiana Museum of Modern Art, Denmark; Global Conceptualism, Walker Arts Center, Minneapolis and Queens Museum of Art, New York; the 1991 Biennial and the 2004 Biennial, Whitney Museum of American Art; 4th Biennial of Sydney, Gallery of New South Wales; Un Certain Art Anglais, Musée d’Art Moderne de la Ville de Paris; La Mémoire, Académie de France à Rome; Nude/Body/Action, Tate Modern, London; and The American Century 1950–2000, Whitney Museum of American Art, New York.

She received a Master of Arts from Pius XII Institute, Florence, Italy, 1964 and Postgraduate Diploma from St. Martin's School of Art, London, 1970. From 1989 to 1996, she served as the Director of Studios for the Independent Study Program at the Whitney Museum of American Art, New York. Kelly has been recipient of the John Simon Guggenheim Memorial Foundation Fellowship. 2015, the National Endowment for the Arts, Visual Arts Fellowship, 1989 and the 2013 Anonymous Was a Woman Award. She was Visiting Artist and Fellow of New Hall College, Cambridge University, 1985-86 and received Honorary Doctorates from the University of Wolverhampton in 2004 and Lund University in 2017. Her published works include Imaging Desire (1996); Mary Kelly (1997); Post-Partum Document (1983/1998); Rereading Post-Partum Document (1999) and Dialogue (2011). Kelly is represented by Mitchell-Innes & Nash, New York, and Susanne Vielmetter Projects Los Angeles.