By Mike Kelley
What John C. Welchman calls the "blazing community of concentrated conflations" from which Mike Kelley's types are generated is on reveal in all its variety 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 severe 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 provide its eponymous hero; "Some Aesthetic excessive Points," an workout in autobiography that counters the traditional artist bio integrated in catalogs and press releases; and a series of "creative writings" that use mass cultural tropes in live performance with excessive artwork mannerisms--approximating in prose the visible types that signify Kelley's art. "Video Statements and recommendations" are introductions to video clips made via Kelley and different artists, together with Paul McCarthy and Bob Flanagan and Sheree Rose. "Image-Texts" bargains 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 college of appropriated texts. "Architecture" positive factors an dialogue of Kelley's academic complicated (1995) and an interview during which he displays at the position of structure in his paintings. eventually, "Ufology" considers the aesthetics and sexuality of area as manifested through alien ship sightings and abduction eventualities.
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Extra resources for Minor Histories: Statements, Conversations, Proposals (Writing Art)
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18); he attempts an outline history of this phenomenon, from dada to the work of Bruce Nauman and Vito Acconci, in the first section of his text. , Cameron argues that discourses of the pastoral, the wilderness, and the sublime—focused on that organization of the natural world symbolized by the garden—offer a privileged set of determining coordinates for the American adjudication between nature and culture. The “savage garden,” then, encompasses the “ruin” and “failure” of these relations, the “co-existence [in it] of brutality and beauty,” and what Cameron proposes as a final equivalence between ecology and democracy—“really two different names,” he suggests, “ for the exact same thing” (p.
André Breton 28. Everything bad that happens happens because of a conscious, intelligent concerted ill-will. Antonin Artaud 29. I call “monster” all original inexhaustible beauty. QUOTATIONS ON ART AND CRIME FOR PAY FOR YOUR PLEASURE Percy Bysshe Shelley Alfred Jarry 25 30. The commitment to supreme evil is indeed connected with the commitment of supreme good. Georges Bataille 31. I do not understand laws. I have no moral sense. I am a brute. Arthur Rimbaud 32. We are a furious wind . . preparing the great spectacle of disaster, fire, decomposition.
The religious stance falters: anyone can be blissed-out after a day of spray painting, but it takes AJAX years on your knees. Ajax warrior—Doughboy malleable. 7 When I became interested in the double metaphor of Ajax—as cleanser and historical figure—it struck me as odd that a company would pick so disreputable a figure, a suicide, as its namesake. Did it suppose that most people wouldn’t be familiar with the literary figure and would respond solely to the snappy name? Was it because the concepts of hard work and stupidity are connected in the popular imagination, so that the name of a brute sparks the connection: hard worker—good job?