More Love Hours Than Can Ever Be Repaid and The Wages of Sin . 1987
+ Mike Kelley
Kelley’s aesthetic mined the rich and often overlooked history of vernacular art in America and he embraced the confrontational, political attitude of punk, attacking cultural attitudes toward family, religion, sexuality, class, art and education. He produced a vast and provocative repertoire that included symbolic and ritualistic performance pieces, stuffed-animal sculptures, paintings, wall-size drawings, ambitious installations that reconstructed institutional environments and restaged historical events; and extended multi-media collaborations with Paul McCarthy, Tony Oursler, Sonic Youth, Destroy All Monsters and others. An original and deeply insightful writer and curator, Kelley wrote for art and music journals and organized museum exhibitions such as “The Uncanny” (1993/2004), which incorporated his own work and that of other artists with non-art objects that explored nostalgia, the grotesque, and the unsettling.
gagosian
Memory Ware Flat . 2000
Memory Ware Flat . 2000
+ Mike Kelley
Kelley’s aesthetic mined the rich and often overlooked history of vernacular art in America and he embraced the confrontational, political attitude of punk, attacking cultural attitudes toward family, religion, sexuality, class, art and education. He produced a vast and provocative repertoire that included symbolic and ritualistic performance pieces, stuffed-animal sculptures, paintings, wall-size drawings, ambitious installations that reconstructed institutional environments and restaged historical events; and extended multi-media collaborations with Paul McCarthy, Tony Oursler, Sonic Youth, Destroy All Monsters and others. An original and deeply insightful writer and curator, Kelley wrote for art and music journals and organized museum exhibitions such as “The Uncanny” (1993/2004), which incorporated his own work and that of other artists with non-art objects that explored nostalgia, the grotesque, and the unsettling.
gagosian
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