MIKE KELLEY
PAUL McCARTHY & MIKE KELLEY
HEIDI, portfolio with video (in collaboration Mike Kelley), artists' book/notebook, silkscreen on paper, 16 pages, each 55 x 38 cm., signed by Paul McCarthy (who made the drawings),
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front box video & exhibition catalogue
front and backside exhibition catalogue
page from the exhibition catalogue
page from the exhibition catalogue
page from the exhibition catalogue
TIMELESS/AUTHORLESS, a series of 15 black and white photographs, mounted on museum board, each 31 x 24 inches /78.7 x 60.9 cm., edition of 5, signed and numbered, 1995
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THE
POETRY OF FORM: PART OF AN ONGOING ATTEMPT TO DEVELOP AN AUTEUR THEORY OF NAMING,
a series of 34
silver-gelatin prints with title text on mats, 16
x 12 inches /40.6 x 30.5 cm.,
matted, edition of 5, signed and numbered,
1985/96
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THREE
VALLEYS, a
series of 12 Fuji crystal archive color photographs, each 20 x 24 inches /50.8 x
61 cm., edition of 5, signed and numbered, 1980/98
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PSYCHIC WAVEFORMS (GEROME KAMROWSKI’S SCULPTURE GARDEN, ANN ARBOR, MI), silver-gelatin print, framed, 23 1/4 x 85 inches /59 x 215.9 cm., edition of 5, signed and numbered, 2001
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MIKE KELLEY / BLACK TO COMM
Blackout
Kelley constructs idiosyncratic and sometimes improbable histories as groundwork for his artistic production. In Blackout, he explores his nostalgia for the local culture of his youth in Westland, Michigan, while engaging in a fantasy search for the "Land O’ Lakes" girl during a boat trip to the islands of the Detroit River. The installation consists of large-scale sculpture and photographs. Interested in the pop psychology theory of repressed memory syndrome, Kelley created an eight-part photo montage in which large portions of the image, intended as a panorama, were "blacked out" due to a camera malfunction; he sees these as analogous to lapses caused by repressed memories.
For the sculpture, Kelley used a folk-art technique called "memory ware", covering the surfaces with broken bottles, tools, flatware, and pottery shards collected on one of the islands. The huge central sculptural figure is based on a statue of astronaut John Glenn that stood in the library of Westland High School, Kelley's alma mater. Photo reproductions of newspaper clippings (placed in large black racks) document local culture from 1968 to 1972. Each clipping is rendered on three different types of paper, giving them a documentary, nostalgic, or "art photography" feel.
The Detroit Institute of Arts (october 19th - december 31st 2001)
Notice: every release contains a 12” record & an art edition and is limited to 100 copies. The intention is to let musicians and artists (in)directly collaborate. The result is a true audiovisual experience from some of the most exciting contemporary artists and musicians of today.
MIKE KELLEY / TONY OURSLER
