By Mike Kelley
What John C. Welchman calls the "blazing community of concentrated conflations" from which Mike Kelley's kinds are generated is on demonstrate in all its range in this moment quantity of the artist's writings. the 1st quantity, Foul Perfection, contained thematic essays and writings approximately different artists; this assortment concentrates on Kelley's personal paintings, starting from texts in "voices" that grew out of scripts for functionality items to expository serious and autobiographical writings.Minor Histories organizes Kelley's writings into 5 sections. "Statements" includes twenty items produced among 1984 and 2002 (most of which have been written to accompany exhibitions), together with "Ajax," which pulls on Homer, Colgate- Palmolive, and Longinus to give its eponymous hero; "Some Aesthetic excessive Points," an workout in autobiography that counters the normal artist bio incorporated in catalogs and press releases; and a series of "creative writings" that use mass cultural tropes in live performance with excessive paintings mannerisms--approximating in prose the visible kinds that represent Kelley's paintings. "Video Statements and suggestions" are introductions to video clips made by means of Kelley and different artists, together with Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts" deals writings that accompany or are a part of artistic endeavors and installations. This part contains "A Stopgap Measure," Kelley's zestful millennial essay in social satire, and "Meet John Doe," a university of appropriated texts. "Architecture" positive factors an dialogue of Kelley's academic complicated (1995) and an interview within which he displays at the position of structure in his paintings. eventually, "Ufology" considers the aesthetics and sexuality of area as manifested by way of alien craft sightings and abduction eventualities.
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Additional resources for Mike Kelley: minor histories--statements, conversations, proposals
Example text
Such childish resentment is the cause of the defacements presented here. The inability to accept their lower position in the order of things provokes these “artists” to drag back to the surface garbage long buried—to sully, vandalize, and render inoperable our pictures of health. Not that such a tactic is always bad. These negative impulses sometimes perform a useful function; in propaganda, for instance, false heroic images are rightly revealed as corrupt. The enemy is attacked, de-heroicized, by reestablishing its connection with the body.
Stark and Howard W. Goldstein, The Rights of Crime Victims (New York: Bantam Books, 1985), pp. 265–80. 9 The painting by Gacy presented in the Chicago installation of Pay for Your Pleasure was a self-portrait as Pogo the Clown (1988). One of the defining characteristics of Pay for Your Pleasure is that for each installation an artwork by a local criminal must be featured, and the money gathered from the collection bins must be given to a local victims’ rights organization. The “criminal” artworks become part of the permanent collection of the Museum of Contemporary Art, Los Angeles (MoCA).
If you encounter charlatans, reason with them . . if they resist, be bold enough to drown them. Giotto 10. We painters claim the license that poets and madman claim. Veronese QUOTATIONS ON ART AND CRIME FOR PAY FOR YOUR PLEASURE 7. We admire the work, but despise the workmen. 11. The old red blood and stainless gentility of great poets will be proved by their unconstraint. 23 Walt Whitman 12. A painting is a thing which requires as much cunning, rascality, and viciousness as the perpetration of a crime.