Edited with introduction by Jenelle Porter. Text by Edgar Arceneaux with Kurt Forman, Carroll Dunham, Daniel Guzmán, Richard Hawkins, Jay Heikes, Jamian Juliano-Villani, Christina Quarles, Mary Reid Kelley, Laurie Simmons.
Hbk, 10.5 x 13 in. / 200 pgs / 157 color. | 12/17/2019 | In stock $55.00
Published by Mousse Publishing. By Laura López Paniagua. Introduction by John Miller.
American artist Mike Kelley (1954–2012) was the mastermind behind some of the most bizarre and instantly recognizable artistic projects of the 1990s. Dedicated as he was to visual art, Kelley was also an insightful theorist who wrote prolifically about his own creations as well as the historical context in which he worked. His writing reveals a matrix of deeply felt theories regarding the aesthetics of the 1980s, ’90s and 2000s, and his concern with victim culture and repressed memory syndrome.
This book presents a new perspective on the life and work of the artist, assessing his personal philosophy via art as well as writing. Art historian Laura López Paniagua places Kelley’s work in conversation with the theories of thinkers such as Georges Bataille, Walter Benjamin, Pierre Bourdieu, Sigmund Freud, Jacques Lacan and Maurice Merleau-Ponty. Through Paniagua’s transdisciplinary approach, Kelley’s oeuvre emerges as a stance based in materialist aesthetics.
Published by Hauser & Wirth Publishers. Edited with introduction by Jenelle Porter. Text by Edgar Arceneaux with Kurt Forman, Carroll Dunham, Daniel Guzmán, Richard Hawkins, Jay Heikes, Jamian Juliano-Villani, Christina Quarles, Mary Reid Kelley, Laurie Simmons.
Featuring paintings from series that span a 15-year period, 1994 through 2009, this volume traces Mike Kelley's (1954–2012) engagement with the medium through bodies of work including The Thirteen Seasons (Heavy on the Winter), a series of oval-shaped paintings on wood; Timeless Painting, which marked Kelley's distinct return to painting in color, and which he described as "mannerist take-offs on Hans Hofmann's compositional theory of ‘push and pull'"; the Horizontal Tracking Shots series; as well as works made under the umbrella of his expansive and ambitious Extracurricular Activity Projective Reconstructions, a series related to the Educational Complex artwork.
Kelley's seminal mixed-media installation Profondeurs Vertes, his ode to the influential paintings in the collection of the Detroit Institute of Arts that captivated him as a young person, is also featured.
The publication includes texts by various contemporary visual artists responding to Kelley's art: Edgar Arceneaux, Carroll Dunham, Daniel Guzmán, Richard Hawkins, Jay Heikes, Jamian Juliano-Villani, Mary Reid Kelley, Christina Quarles and Laurie Simmons.
Published by Walther König, Köln. Edited with text by Harald Falckenberg.
99,9998% Remaining compiles essential documentation of the most important exhibitions of Mike Kelley (1954–2012) between 1982 and 2011, with reproductions of seminal works from various periods. It offers numerous stills from legendary videos by and/or with Kelley, such as Banana Man (1983), Heidi (1992) (in collaboration with Paul McCarthy), EVOL (1984, with Tony Oursler) and Sir Drone (1989, with Raymond Pettibon).
In an essay, Harald Falckenberg, one of the most important collectors of Kelley’s works, supplies a detailed overview of the artist's various periods of development, also investigating the influence of the art market on Kelley’s production and the reasons for Kelley's suicide in January 2012.
Mike Kelley’s Arenas series of the late 80s and early 90s mark a shift away from the artist’s performance-oriented activity and towards a new sculptural dexterity, in which cultural resonance is elicited from an eerie reframing of everyday objects. First exhibited in 1990 at Metro Pictures, the Arenas are comprised of stuffed animals arranged around the edges of blankets (or occasionally posed isolate in their center). Ten or twenty such toys in such groupings might convey a cheery childhood picnic scenario, but Kelley rarely selects more than five or six, and places them carefully so that their cuddliness and their capacity to comfort is entirely canceled out. Instead, we encounter the toy as a commodity entity—a mass-manufactured product positioned to enter into play but far from inviting it. Skarstedt’s exhibition of seven of the eleven Arenas is here recorded in superb installation shots and with critical commentary.
BOOK FORMAT Hardcover, 8.75 x 11.25 in. / 44 pgs / 32 color.
PUBLISHING STATUS Pub Date 5/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 130
PRODUCT DETAILS ISBN 9781616237189TRADE List Price: $30.00 CDN $35.00
Published by JRP|Ringier. Edited by Anne Pontégnie. Text by Mike Kelley, Anne Pontégnie, Diedrich Diederichsen, Howard Singerman.
In 1995, Mike Kelley devised the Educational Complex, an amalgam of every school he attended and of the house he grew up in, "with all the parts I couldn't remember left out"--a total environment, "sort of like the model of a Modernist community college." The blind spots in this model represent forgotten ("repressed") zones, and so are reconceived by Kelley as sites of institutional abuse, for which specific traumas were devised (each having their own video and sculptural component). For Kelley, this work marks the beginning of a series of projects in which pseudo-autobiography, repressed-memory syndrome and the reinterpretation of previous pieces become the tools for a poetic deconstruction of such complexes and the way we interact with and narrate them. Educational Complex Onwards, 1995-2008 is the first book to collect these works. Each project within the series is extensively documented by artist's texts and reference material, while essays by Diedrich Diederichsen, Howard Singerman and Anne Pontégnie examine the place of this body of work within Kelley's oeuvre.
Memory Ware, Wood Grain, Carpet: these three series are brought together for this insightful publication. Kelley consciously presents a nexus of works whose similar surface treatments and presentation inevitable evoke Modernist painting history. Emi Fontana writes: “Popularly known as the master of exercises in garbage style, Kelley is in reality Mr. Clean. He situates his output within a wider system, that of recent Modernist art history, appropriating Modernism's structures, acting from within but without exercising the appropriational coldness common to the gestures of many American artists of his generation.” 53 images present Kelley's most recent works in vivid color.
BOOK FORMAT Hardcover, 12 x 9.5 in. / 48 pgs / 53 color.
PUBLISHING STATUS Pub Date 3/15/2005 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2005 p. 117
PRODUCT DETAILS ISBN 9782940271658TRADE List Price: $55.00 CDN $65.00
Published by Walther König, Köln. Essays by Mike Kelley, Christoph Grunenberg.
Taking Freud's idea of the Uncanny as a starting point, artist Mike Kelley plays Sunday curator and presents work by Jasper Johns, Paul McCarthy, Jeff Koons, Tony Oursler, and others (reprinted from a 1993 catalogue), plus photos of chewing gum wrappers, postcards, record covers, and toys, all connected to ideas of youth and the Uncanny.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 8.25 x 11.25 in. / 263 pgs / 150 color
PUBLISHING STATUS Pub Date 5/2/2004 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2004
PRODUCT DETAILS ISBN 9783883757988SDNR30 List Price: $40.00 CDN $50.00
Published by Cantz. Artwork by Mike Kelley. Edited by Thomas Kellein.
How Mike Kelley's work has evolved and where it is going since his dramatic debut on the international art scene is the subject of this small-format book, published as part of Cantz's series dedicated to contemporary artists.