Mike Kelley / Catholic tastes
KELLEY Mike (Wayne, Michigan, 1954 - South Pasadena, California, 2012), New York, Whitney Museum of American Art, 1993, 24x16,5 cm., softcover, pp. 256, illustrated volume, catalog with tens of photographic images. Mike Kelley selected all the enlargements passages that appear throughout the essays. Texts in English by David Marsh (Mike Kelley And Detroit), Richard Armstrong (In the beginning), Timothy Martin (Janitor in a drum: excerpts from a performance history), Howard Singerman (Charting monkey island with Levi-Strauss and Freud), Colin Gardner (Let it bleed: the sublime and Plato's cave, Rothko's Chapel, Lincoln's Profile), Dennis Cooper & Casey Mckinney (Criminality and other themes in pay for your pleasure), John Miller (The poet as janitor), Ralph Rugoff (Mike Kelley and the power of the pathetic), Kim Gordon (Is It My Body?), Howard N. Fox (Artist in exile), Diedrich Diederichsen, Jutta Koether, & Martin Prinzhorn (How we got to know Mike Kelley), Paul Schimmel (A full-scale model for a dysfunctional institutional hierarchy), John G. Hanhardt (Mike Kelley's puppet show: the postmodern body on video). With a biography and a bibliography of the artist and the list of the works exhibited. Published in conjunction of the exhibition (New York, Whitney Museum of American Art, from November 5, 1993 to February 20, 1994)
KELLEY Mike (Wayne, Michigan, 1954 - South Pasadena, California, 2012), New York, Whitney Museum of American Art, 1993, 24x16,5 cm., softcover, pp. 256, illustrated volume, catalog with tens of photographic images. Mike Kelley selected all the enlargements passages that appear throughout the essays. Texts in English by David Marsh (Mike Kelley And Detroit), Richard Armstrong (In the beginning), Timothy Martin (Janitor in a drum: excerpts from a performance history), Howard Singerman (Charting monkey island with Levi-Strauss and Freud), Colin Gardner (Let it bleed: the sublime and Plato's cave, Rothko's Chapel, Lincoln's Profile), Dennis Cooper & Casey Mckinney (Criminality and other themes in pay for your pleasure), John Miller (The poet as janitor), Ralph Rugoff (Mike Kelley and the power of the pathetic), Kim Gordon (Is It My Body?), Howard N. Fox (Artist in exile), Diedrich Diederichsen, Jutta Koether, & Martin Prinzhorn (How we got to know Mike Kelley), Paul Schimmel (A full-scale model for a dysfunctional institutional hierarchy), John G. Hanhardt (Mike Kelley's puppet show: the postmodern body on video). With a biography and a bibliography of the artist and the list of the works exhibited. Published in conjunction of the exhibition (New York, Whitney Museum of American Art, from November 5, 1993 to February 20, 1994)
KELLEY Mike (Wayne, Michigan, 1954 - South Pasadena, California, 2012), New York, Whitney Museum of American Art, 1993, 24x16,5 cm., softcover, pp. 256, illustrated volume, catalog with tens of photographic images. Mike Kelley selected all the enlargements passages that appear throughout the essays. Texts in English by David Marsh (Mike Kelley And Detroit), Richard Armstrong (In the beginning), Timothy Martin (Janitor in a drum: excerpts from a performance history), Howard Singerman (Charting monkey island with Levi-Strauss and Freud), Colin Gardner (Let it bleed: the sublime and Plato's cave, Rothko's Chapel, Lincoln's Profile), Dennis Cooper & Casey Mckinney (Criminality and other themes in pay for your pleasure), John Miller (The poet as janitor), Ralph Rugoff (Mike Kelley and the power of the pathetic), Kim Gordon (Is It My Body?), Howard N. Fox (Artist in exile), Diedrich Diederichsen, Jutta Koether, & Martin Prinzhorn (How we got to know Mike Kelley), Paul Schimmel (A full-scale model for a dysfunctional institutional hierarchy), John G. Hanhardt (Mike Kelley's puppet show: the postmodern body on video). With a biography and a bibliography of the artist and the list of the works exhibited. Published in conjunction of the exhibition (New York, Whitney Museum of American Art, from November 5, 1993 to February 20, 1994)
"This exhibition and catalogue provide the opportunity to consider the work of an artist whose art continues to make demands of an art world often mired in false notions of category and at times overly concerned with issues of taste and propriety. The importance of Mike Kelley's art (and a chief reason it has emerged as powerfully influential upon his generation) stems from his honesty in dealing with his life as a working-class American and his willingness to explore issues of class and gender unprejudiced by conventional aesthetics. As an American artist of the post-everything (Vietnam, Watergate, modern, ideology) era, Kelley exhibits a profound understanding and appreciation of both the folly and the greatness of our particular national culture. As a feminist, he reflects a clear understanding of the role of gender in the construction and transformation of social practices." from the foreword by David A. Ross
