- published: 07 Dec 2013
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Michael, Mick or Mike Kelley may refer to:
Mike is an abbreviation or shorthand for Michael.
The name Mike may refer to:
On the influence of Mike Kelley's work, art historian and critic John Welchman writes much contemporary art that trades in abjection and the pathetic, scatter art, neo-junk, bad-girl provocations, a thousand reformulations of the body, have all passed, here and there, through the viscerally abstruse filtration system of Kelley's imagination. For this conversation, the two discuss Kelley's remarkable career, focusing on his large-scale video work the Extracurricular Activity Projective Reconstruction series, started in 2000. An ambitious project, the series is a group of 365 videotapes and video installations related to his 1995 sculptural work, Educational Complex. Through restaged photographs of activities found in high school yearbooks and newspapers, the videos address issues of repress...
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Episode #117: Mike Kelley sets the record straight about being called a "bad boy" throughout his career, describing the shifting tastes of critics and artists towards abject art in recent years. Mike Kelley's work ranges from highly symbolic and ritualistic performance pieces, to arrangements of stuffed-animal sculptures, to wall-sized drawings, to multi-room installations that restage institutional environments (schools, offices, zoos), to extended collaborations with artists such as Paul McCarthy, Tony Oursler, and the band Sonic Youth. His work questions the legitimacy of 'normative' values and systems of authority, and attacks the sanctity of cultural attitudes toward family, religion, sexuality, art history, and education. He also comments on and undermines the legitimacy of the conc...
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Excerpt From DAY IS DONE - Extracurricular Activity Projective Reconstruction #2 (2006)
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At their first meeting at the Formosa Cafe in West Hollywood, choreographer Anita Pace was surprised by Mike Kelley's knowledge of dance. It was the start of a connection that led to artistic collaborations and a romantic partnership. "Pansy Metal/Clovered Hoof" (1989) comprises ten silk scarves emblazoned with imagery riffing on Kelley's Irish-American heritage. For a performative presentation of the same organized by Rosamund Felsen Gallery at a private loft in Los Angeles, Pace choreographed a fashion show with headbanger dancers wearing the banners. Other collaborations included "Blonde Condition" (1990), "Beat of the Traps" (1992) with Stephen Prina, "Pole Dance" (1995) with Tony Oursler, and "Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Response...
Tag along with Mike Kelley as he photographs some architecture in California.
Kim Gordon and Mike Kelley met as art students in Los Angeles in the 1970s. Many years later, her influential rock band Sonic Youth put Kelley on the pop culture map, by using a detail from "Ahh... Youth!" (1991) as an album cover. In this interview, Gordon recalls her musical history with Kelley, including "Plato's Cave" (1985), and discusses the enduring appeal of his stuffed animal works. Directed by Emma Reeves Edited by Owen Schwartzbard & Tom Salvaggio Photos courtesy of Mike Kelley Foundation for the Arts, Paula Court, John Harnois, Larry E. Wright, Cary Loren, Fredrik Nilsen. All Kelley artworks (c) Estate of Mike Kelley Courtesy of Mike Kelley Foundation for the Arts
On the influence of Mike Kelley's work, art historian and critic John Welchman writes much contemporary art that trades in abjection and the pathetic, scatter art, neo-junk, bad-girl provocations, a thousand reformulations of the body, have all passed, here and there, through the viscerally abstruse filtration system of Kelley's imagination. For this conversation, the two discuss Kelley's remarkable career, focusing on his large-scale video work the Extracurricular Activity Projective Reconstruction series, started in 2000. An ambitious project, the series is a group of 365 videotapes and video installations related to his 1995 sculptural work, Educational Complex. Through restaged photographs of activities found in high school yearbooks and newspapers, the videos address issues of repress...
Excerpt from soon released Mike Kelley interview from 2004. Curated by Gerry Fialka. Filmed by Eli Elliott.
Episode #104: Mike Kelley reveals how photographs from yearbooks and newspapers in Detroit served as the inspiration behind the performative project "Day Is Done," shown installed at Gagosian Gallery. Mike Kelleys work ranges from highly symbolic and ritualistic performance pieces, to arrangements of stuffed-animal sculptures, to wall-sized drawings, to multi-room installations that restage institutional environments (schools, offices, zoos), to extended collaborations with artists such as Paul McCarthy, Tony Oursler, and the band Sonic Youth. His work questions the legitimacy of normative values and systems of authority, and attacks the sanctity of cultural attitudes toward family, religion, sexuality, art history, and education. He also comments on and undermines the legitimacy of the...
http://AbsurdistVideoArt.com Excerpt from Mike Kelley interview, 2004.
With the exhibition “Mike Kelley: Educational Complex Onwards, 1995 – 2008″, Wiels Contemporary Art Centre in Brussels presents a retrospective dedicated to Mike Kelley. Educational Complex Onwards, 1995 – 2008 is composed of a large selection of recent works (photographs, videos, installations, sculptures and paintings). The show is conceived as a history, in which every work forms a chapter. More videos on contemporary art, design, architecture: http://vernissage.tv Connect: http://www.facebook.com/vernissagetv http://twitter.com/vernissagetv Browse our Archive: http://vernissage.tv/archive/posts/ Find Artists, Designers, Architects: http://vernissage.tv/archive/artists/ Art TV pioneer Vernissage TV provides you with an authentic insight into the world of contemporary fine arts, des...
In time for the Art Biennale in Venice, HangarBicocca in Milan, Italy, opened a huge show with works by Mike Kelley. The exhibition highlights the work of the late American artist (Detroit, 1954 -- Los Angeles, 2012) with a selection of major works. The exhibition is curated by Emi Fontana and Andrea Lissoni. In this video, Emi Fontana, an Italian curator who lives in Los Angeles and worked closely with Mike Kelley during the last fifteen years of his life, provides us with a short introduction to the exhibition. Vicente Todolí, Artistic Advisor at HangarBicocca, talks about his concept for the exhibition space. The exhibition is titled "Eternity is a Long Time" and features installations, videos and sculptures mainly realized from 2000 to 2006. Cultural aspects and autobiographical memo...
On the influence of Mike Kelley's work, art historian and critic John Welchman writes much contemporary art that trades in abjection and the pathetic, scatter art, neo-junk, bad-girl provocations, a thousand reformulations of the body, have all passed, here and there, through the viscerally abstruse filtration system of Kelley's imagination. For this conversation, the two discuss Kelley's remarkable career, focusing on his large-scale video work the Extracurricular Activity Projective Reconstruction series, started in 2000. An ambitious project, the series is a group of 365 videotapes and video installations related to his 1995 sculptural work, Educational Complex. Through restaged photographs of activities found in high school yearbooks and newspapers, the videos address issues of repress...
Learn more about the full tutorial at https://fstoppers.com/store
Episode #117: Mike Kelley sets the record straight about being called a "bad boy" throughout his career, describing the shifting tastes of critics and artists towards abject art in recent years. Mike Kelley's work ranges from highly symbolic and ritualistic performance pieces, to arrangements of stuffed-animal sculptures, to wall-sized drawings, to multi-room installations that restage institutional environments (schools, offices, zoos), to extended collaborations with artists such as Paul McCarthy, Tony Oursler, and the band Sonic Youth. His work questions the legitimacy of 'normative' values and systems of authority, and attacks the sanctity of cultural attitudes toward family, religion, sexuality, art history, and education. He also comments on and undermines the legitimacy of the conc...
Purchase here: https://www.e-junkie.com/ecom/gb.php?c=cart&i;=1298024&cl;=188660&ejc;=2
Excerpt From DAY IS DONE - Extracurricular Activity Projective Reconstruction #2 (2006)
Sign up for the Newsletter and see all the photos here: https://fstoppers.com/critiques/critique-community-episode-19-architectural-photography-mike-kelley-128200
At their first meeting at the Formosa Cafe in West Hollywood, choreographer Anita Pace was surprised by Mike Kelley's knowledge of dance. It was the start of a connection that led to artistic collaborations and a romantic partnership. "Pansy Metal/Clovered Hoof" (1989) comprises ten silk scarves emblazoned with imagery riffing on Kelley's Irish-American heritage. For a performative presentation of the same organized by Rosamund Felsen Gallery at a private loft in Los Angeles, Pace choreographed a fashion show with headbanger dancers wearing the banners. Other collaborations included "Blonde Condition" (1990), "Beat of the Traps" (1992) with Stephen Prina, "Pole Dance" (1995) with Tony Oursler, and "Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Response...
Tag along with Mike Kelley as he photographs some architecture in California.
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Sign up for the Newsletter and see all the photos here: https://fstoppers.com/critiques/critique-community-episode-19-architectural-photography-mike-kelley-128200
Patrick Hall and Mike Kelley review and critique architecture and interior photographs from the https://fstoppers.com/community
A conversation on Mike Kelley with Ruba Katrib (Curator, SculptureCenter) , Jeffrey Sconce (Associate Professor, Northwestern University) and John C. Welchman (Chair, Mike Kelley Foundation For The Arts) at Hauser & Wirth New York, 18th Street on 12 September 2015.
Tom of Finland at CalArts, ca. 1988 Digitized video, 1 hr 7 mins Tom of Finland Foundation, Permanent Collection, Gift of Mike Kelley Courtesy of the California Institute of the Arts
That’s her over in the corner
Drinking coke and eating ice
Twisting her hair over her finger
There’s a memory inside your eyes
The Cigarette machine she’s leaned on
Remembers more than most of us
We hide them both under a blanket
When the health department comes
Four more living in an alley
Separated …
It took walls to drive her crazy
It took space to drive her in
Swimming pools are nice attraction
So are Vicodin and wine
A week-long ocean-front vacation
Feel like a pirate for a time
Every distant destination, never-ending gasoline
Every man it's a simple caller
Every simple girl’s a queen
Giant screens of skies exWloding
Something basic and power chords
We got a preacher if you’re listening