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Mike Kelley (Phaidon)

Mike Kelley (1954-2012) is one of the best contemporary examples of an artist who, like Yves Klein, Piero Manzoni and Vito Acconci before him, combines sculpture with performance. Best known for his assemblage sculptures made from stuffed children's toys, often set upon the 'stage' of a homemade Afghan rug, Kelley draws upon the Modernist traditions of the found object and collage in his colourful, irreverent sculptures.

Childhood and adolescence are referenced with all the sexual ambiguity, tastelessness and low humour associated with those age groups. His attitude of aesthetic disobedience, bridging 'low' (crafts) and 'high' (sculpture, painting) forms of art, has its roots in the rejection of the social and moral fabric of American culture.

Despite his subversion and anti-art tactics, Kelley has been recognized since the 1980s by the international art world as one of the most significant and representative artists working today in the United States, and his work has been shown at venues as diverse as the Los Angeles County Museum of Art and Paris's Musee du Louvre
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Emne Nutidskunst
Kunstner Mike Kelley
Forfatter Survey by John C. Welchman, Interview by Isabelle Graw, Focus by Anthony Vidler, Artist's Choice by Georges Bataille and Charles Fort, Writings by Mike Kelley
Sprog Engelsk
Illustrationer 150 ill
Format / Sideantal 25 x 29 cm. / 160 s.
Udgivelsesår 1999
Indbinding Hæftet
Forlag Phaidon
Antikvarisk
Antal
Køb
ISBN 9780714838342
Lev. 3 dage
Mike Kelley (1954-2012) is one of the best contemporary examples of an artist who, like Yves Klein, Piero Manzoni and Vito Acconci before him, combines sculpture with performance. Best known for his assemblage sculptures made from stuffed children's toys, often set upon the 'stage' of a homemade Afghan rug, Kelley draws upon the Modernist traditions of the found object and collage in his colourful, irreverent sculptures.

Childhood and adolescence are referenced with all the sexual ambiguity, tastelessness and low humour associated with those age groups. His attitude of aesthetic disobedience, bridging 'low' (crafts) and 'high' (sculpture, painting) forms of art, has its roots in the rejection of the social and moral fabric of American culture.

Despite his subversion and anti-art tactics, Kelley has been recognized since the 1980s by the international art world as one of the most significant and representative artists working today in the United States, and his work has been shown at venues as diverse as the Los Angeles County Museum of Art and Paris's Musee du Louvre