For the work's Chicago debut, viewers were thus greeted with a disturbing self-portrait by the Cook County serial killer John Wayne Gacy, dressed as his alter-ego, Pogo the Clown. The Poltergeist: A Work between David Askevold and Mike Kelley, Foundation for Art Resources, Los Angeles, California, 1979. ", Painted foam core, fiberglass, plywood and wood - Whitney Museum of American Art, New York City. Using what are often considered non-art materials, his work pays particular attention to contemporary art theory and practice, especially the dreams and failings of modernism. Narrator: Mike Kelley’s work More Love Hours than Can Ever Be Repaid is made out of stuffed animals, afghans, and other craft objects. More: …Ducasse’s bestiary seems to whip around Kelley’s oeuvre, snarling. 1979. But here, with the clash between infant playthings and the disaffected and awkward adolescent laid bare, "youth" becomes somehow euphemistic, conjuring everything from boyish tomfoolery to unchannelled aggression and teenage sexual awakening. He often worked collaboratively and had produced projects with artists Paul McCarthy, Tony Oursler and John Miller. Kelley's integration of videos within complex, chaotic gallery environments has been influential upon a host of younger artists, including Ryan Trecartin and Lizzie Fitch, and Laure Prouvost. Interestingly, Deodorized Central Masses was first shown in Europe, where it received critical acclaim for its humorous reflection on American culture. For a European audience, the work's message was unambiguous: Kelley's stuffed animal spheres symbolized the profligacy of American consumer capitalism, and satirized a culture premised, from the earliest stirrings of childhood, on excess. Reachable only through hatches in the floor and via a subterranean tunnel system, the basement remains inaccessible to the casual visitor, despite its location outside a notionally "public" museum. Pay for your Pleasure is mockingly site-specific, and like much of Kelley's work, it trains its sights on the viewer's discomfort, seeking to expose the contradictions and hypocrisies that lie at the heart of society and its conventions, including our expectations of art itself. Before his death, Kelley intended to create an extensive video series consisting of 365 parts representing the days in a year. The drawing starts with a small, nostalgic scene that expands into a hallucination that lingers somewhere between fluid, nondescript lines, wood grain, and bodily organs. Upon viewing the work at Gagosian Gallery in 2005, Jerry Saltz described Day is Done's "cluster-fuck aesthetic," arguing that "[Kelley] is the originator of his own form of sculptural mayhem: cacophonous disorienting agglomerations and sprawling installations of stuff heaped upon other stuff ... deeply carnivalesque, always operatic, and utterly unrelenting."

The art historian Randy Kennedy explains that "in its humanitarian aims the work blurs the lines separating sculpture, performance, activism and community organizing and fits uneasily into the gallery and museum world." Comte de Lautréamont's famous book-length poem, Les Chants de Maldoror, influenced artists and writers from André Breton to Mike Kelley, says Gabriella Pounds at Frieze. Kelley collected these discarded tokens of childhood devotion from thrift stores, tightly arranging them among assorted crocheted afghans on a large canvas measuring eight by ten feet. To me, this experience of seamlessness seemed to correspond to the notion of unified character." The work is a sterile architectural model of all the educational institutions Kelley had ever been taught in, including his home, and even the basement of the CalArts building on the model's underside. In his performances, music, and installations, Kelley took material from high school memories, adolescent collectibles, pulp magazines, psychoanalytic theory, and a multitude of other sources. In Educational Complex, 1995, he made models from memory of schools that he attended, including his Catholic elementary school and the University of Michigan in Ann Arbor. You realized you were caught up in a tide-pool of Freudian and Jungian misnomers with a punk overtone to it all - he was chaos and utter brilliance." 8 Silver Dye-Bleach Photographs - Mike Kelley Foundation for the Arts. Kelley created his own imaginative projection onto the photographs in the form of video, installation, and sculpture. "Mike Kelley Artist Overview and Analysis". In its early days, however, it toured to different venues, the corridor ending at each iteration with the inclusion of an artwork created by a notorious local criminal. Sepia toned print, edition of 10 - Art Institute of Chicago. Mike Kelley is widely considered one of the most influential artists of our time. But this incompletion is also an offering to the viewer to fill in the gaps and to project their own sense of this half-forgotten oddball. Ahh...Youth! In The Banana Man, Kelley explores the possibilities for suggesting individual character by way of the slightest of cues. Consisting of discarded stuffed animals sewn together face down into large, color-coordinated clusters, they hang from the ceiling in an almost planetary alignment. Like old-fashioned religious indulgences, the contribution boxes let you relieve your gnawing cultural guilt." Here, as Knight further explains, "Kelley's provocative installation gaily throws a monkey wrench into all sorts of entrenched assumptions about art. "A strange soul, he wrote only at night, seated at a piano, reciting draft sentences interspersed with chords." And they're all handmade objects. So youth for him isn't juvenile culture. Originally from a suburb outside of Detroit, Kelley attended the University of Michigan, Ann Arbor, before moving to Southern California in 1976 to study at California Institute of the Arts from which he received an MFA in 1978. In marked opposition to the project's altruistic façade, this space is "reserved for secret rites of an antisocial nature." Of Kelley's early performances, Oursler has recalled that "you couldn't see him perform without feeling invigorated and confused. Oscar Wilde, for instance, is accompanied by his bold, art-for-art's-sake assertion that "the fact of a man being a poisoner is nothing against his prose." The scale of More Love Hours recalls the heroic, hyper-masculine paintings of the Abstract Expressionists of the 1940s and 1950s, while the richly colored, all-over design of the work is reminiscent of Hans Hoffmann's "push-and-pull" paintings of the late 1950s, in a nod to Kelley's undergraduate training as a painter at the University of Michigan. Updated and modified regularly [Accessed ] Sign up to get the latest news about The Broad, upcoming exhibitions and events, and special offers. As art historian Howard Singerman explains, "high art is often a target in Kelley's work; he mistrusts particularly abstraction's claim to (at once) universal speech and pregnant silence... he refuses to acknowledge the line between high and low art." Painted by commerical artists from photographs, the panels are reminiscent of the inspirational posters hanging in high school English classrooms across America. The 169-minute work was originally seen within an ambitious installation comprising 25 individually designed viewing stations, each decked with photographs, props and drawings referencing scenes from particular chapters. In the work, actors dressed as American stereotypes and supernatural beings perform examples of extracurricular activities sourced from found high school yearbooks that the artist had organized into files, with all the absurdity befitting adolescent rituals. [Internet]. As Kelley explains: "Because of the conventions of editing, video and film tend to normalize fracture. Mobile Homestead is Kelley's only public artwork because he disliked public art, once remarking that the work will be "a pleasure that is forced upon a public that, in most cases, finds no pleasure in it. Kelley’s hermaphrodite drawing, Chrome Goddess (2006), seemingly gestures to the only soul Maldoror admires: a sleepy hermaphrodite in the Tuileries, described as ‘a body splitting in two’. Mike Kelley is a Los Angeles artist. Together with the (autobiographical) Catholic overtones of its companion piece, Kelley's work connotes themes of devotion, guilt, longing and debt that are left unspecified, but which nevertheless seem tinged with nostalgia for the lost innocence of childhood, while pointing with a bitter humor to the failures and disenchantments of adulthood. For Kristeva, the abject exists at the limit point of the subject as that which the body expels or casts off: bodily fluids, for instance. United States, 1954 The models, due to his altered memories, were left incomplete where Kelley could not recall the architecture, literally having holes in places where, according to the artist, some trauma may have occurred.

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