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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Zoe Butt on the Challenges and Rewards of Curating Ocula Conversation Zoe Butt on the Challenges and Rewards of Curating

Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...

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Ocula 报告|Condo Shanghai 2019 展览看点 Ocula Report Ocula 报告|Condo Shanghai 2019 展览看点 11 Jul 2019 : Penny Liu for Ocula

即将于2019年7月13开幕的第二届 Condo Shanghai,联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市,如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城,为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥,《景观/对象WA》(2016)。橡木上固化油墨打印,左: 55.88 × 147.32 cm,中: 121.92 × 152.4 cm,右: 55.88 × 147.32 cm,图片提供:马凌画廊,上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...

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Mike Kelley

(1954 - 2012), USA

One of the most prominent artists of his generation, Mike Kelley produced a vast range of works in drawing, sculpture, performance, music, video, photography and painting, as well as critical texts and collaborative works. He completed his studies at the University of Michigan and the California Institute of the Arts in 1976 and 1978 respectively. Kelley moved to the West Coast in the mid-1970s, and lived and worked in Los Angeles until his death in 2012.

Kelley gained recognition in the 1980s for his work with children's soft toys and other found materials. With these materials, he examined popular culture, memories and fragmented narratives. In Eviscerated Corpse (1989), he sewed together rag dolls and stuffed animals that he had salvaged from thrift shops to make a cross between a human and a centipede. The installation was part of the larger series 'Half A Man' (1987–93) and critiqued the association of innocence with childhood and the idea of family. More Love Hours Than Can Ever Be Repaid and The Wages of Sin (1987)—an earlier creation from the same series—similarly incorporated soft toys and second-hand blankets. Kelley's conspicuous use of sewing and craft—skills traditionally regarded as 'feminine'—questioned the definitions of normalcy and gender.

Children's toys also function in Kelley's work as a satirical metaphor. Deodorized Central Mass with Satellites (1991–99) consists of suspended balls created from discarded, brightly coloured toys. By transforming children's toys into serious sculpture, Kelley visualised a darker side to the American dream's endorsement of excessive consumption and reckless luxury collecting, and intermingled the 'low' and the 'high' of American culture. He also deodorised his suspended sculptures, mocking America's selective amnesia of unpleasant realities.

The idea of memory was one of Kelley's longstanding interests. In 1983, he filmed a 28-minute video about The Banana Man—a character from the children's television show Captain Kangaroo. Since Kelley had not seen The Banana Man himself growing up, he asked his friends to share their memories for the reconstruction. In its incomplete study, far removed from the real character, The Banana Man offers an investigation into the fragility of human memory. In Educational Complex (1995), Kelley similarly reproduced the structures of every school he had attended, alongside his childhood home, as small architectural models. Blank spaces represented parts of buildings he could not remember. Kelley was intrigued by the increasing popularity of Repressed Memory Syndrome, which proposed that the human brain repressed traumatic memories and that therapy could recover them. The public grew interested in traumatic memories and child abuse, a phenomenon Kelley called an infatuation.

In 2010, Kelley collaborated with the London-based organisation Artangel to launch Mobile Homestead: a to-scale replica of his childhood home. Designed as a 'mobile home', the replica is constructed from lightweight white cardboard and has a removable clapboard façade. Kelley conceived of the project as a community gallery that would be driven around the streets of Detroit, serving the public with 'haircuts, social services, meeting space, and a place to hold barbecues and perhaps for the homeless to pick up mail', according to Randy Kennedy for The New York Times. Upon its completion, he recorded the house's launch in three videos that screened at the 2012 Whitney Biennial. Since Kelley's death, Mobile Homestead has stayed with the Museum of Contemporary Art Detroit (MOCAD) and remains available for the community.

Outside his endeavours in visual media, Kelley also wrote and collaborated extensively. He has been published in journals including Artforum (2011, 2008, 2007, 2006, 2003, 1989), Journal of Contemporary Art (1994) and Art Issues (1990). He was an original member of Destroy All Monsters (1973–85), an experimental noise group founded with his friends Jim Shaw, Cary Loren and Niagara (Lynn Rovner). Kelley also collaborated with the band Sonic Youth in his performance Plato's Cave, Rothko's Chapel, Lincoln's Profile (1986) and with Paul McCarthy to produce Heidi (1992).

Kelley's work was and continues to be exhibited widely. Selected solo exhibition venues have included Gagosian Gallery, London (2011, 2007); Centre Pompidou, Paris (2013); MOCAD, Detroit (2013); and Whitney Museum of American Art, New York (1993). He also participated in multiple biennials, most notably the Whitney Biennial (2012, 2002, 1995, 1993, 1991, 1989, 1987, 1985), the Gwangju Biennale (2010), the Shanghai Biennale (2008), La Biennale de Lyon (2003, 2001), the 43rd Venice Biennale (1988) and the Sydney Biennale (1984).

After his death, the Stedelijk Museum in Amsterdam opened a major retrospective of his works, titled MIKE KELLEY: Themes and Variations from 35 Years (2012–13). Other posthumous exhibitions include Mike Kelley at The Museum of Contemporary Art, Los Angeles (2014) and An Homage to Mike Kelley at MoMA PS1, New York (2012–13).

Kelley's works are in the collections of Art Institute of Chicago; Centre Pompidou, Paris; Carnegie Museum of Art, Pittsburgh; Detroit Institute of Arts; Los Angeles County Museum of Art; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York among others. Kelley was a Guggenheim Fellow in 2003 and in 1997 he won the Skowhegan Medal for Mixed Media.

Sherry Paik | Ocula | 2017
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Featured Artworks

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Memory Ware #41 by Mike Kelley contemporary artwork
Mike KelleyMemory Ware #41, 2003 Mixed media on wood panel
192.4 x 131.4 x 10.2 cm
Metro Pictures
Memory Ware Flat #40 by Mike Kelley contemporary artwork
Mike KelleyMemory Ware Flat #40, 2003 Mixed media on wood panel
193 x 132.4 x 10.2 cm
Hauser & Wirth
Unisex Love Nest by Mike Kelley contemporary artwork
Mike KelleyUnisex Love Nest, 1999 Installation with 1-channel video (colour, sound)
Hauser & Wirth
Untitled (Student Drawing) by Mike Kelley contemporary artwork
Mike KelleyUntitled (Student Drawing), 1974 Mixed media on paper
61 x 45.7 cm
Hauser & Wirth
Shoppers Fair (Student Drawing) by Mike Kelley contemporary artwork
Mike KelleyShoppers Fair (Student Drawing), 1974 Pencil on paper
45.7 x 61 cm
Hauser & Wirth
Untitled (Allegorical Drawing) by Mike Kelley contemporary artwork
Mike KelleyUntitled (Allegorical Drawing), 1976 Marker on file card
15.2 x 10.2 cm
Hauser & Wirth
Untitled (Student Drawing) by Mike Kelley contemporary artwork
Mike KelleyUntitled (Student Drawing), 1974 Mixed media on paper
61 x 45.7 cm
Hauser & Wirth
Rose Hobart II by Mike Kelley contemporary artwork
Mike KelleyRose Hobart II, 2006 Wood, metal, carpet, acrylic paint, with video projection and sound
182.9 x 452.1 x 609.6 cm
Hauser & Wirth

Current & Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, My Head is a Haunted House at Sadie Coles HQ, London
Open Now
5 June–10 August 2019 Group Exhibition My Head is a Haunted House Sadie Coles HQ, Kingly Street
Contemporary art exhibition, Mike Kelley, God's Oasis at Hauser & Wirth, Zurich
Closed
22 September–21 December 2018 Mike Kelley God's Oasis Hauser & Wirth, Zürich
Contemporary art exhibition, Mike Kelley, Mike Kelley at Gagosian, Beverly Hills
Closed
5–28 September 2018 Mike Kelley Mike Kelley Gagosian, Beverly Hills

Represented By

In Related Press

View All (14)
On Monstering: 'My Head Is a Haunted House' at Sadie Coles HQ and 'Dracula’s Wedding' at Rodeo, London—Curated by Charlie Fox Related Press On Monstering: 'My Head Is a Haunted House' at Sadie Coles HQ and 'Dracula’s Wedding' at Rodeo, London—Curated by Charlie Fox Mousse Magazine : 1 July 2019

Disorientingly familiar, the entrance of My Head Is a Haunted House is covered with a Twin Peaks–esque Red Room floor vinyl that grounds whatever happens there in another dimension. But in contrast to David Lynch’s tricks, there are no velvet curtains bordering an outside;1 there is no alternative to rambling through the rooms suffused in green and...

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Charlie Fox haunts London Related Press Charlie Fox haunts London TANK Magazine : 1 July 2019

Charlie Fox invites you on a tour of the inner workings of his mind with Dracula’s Wedding and My Head is a Haunted House–two simultaneous exhibitions on this summer at Rodeo and Sadie Coles HQ respectively. Though working in different colour schemes, both shows are a compilation of Fox’s favourite artists and their spookiest works, in all sizes...

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Monster Mash-Up: The Art Gallery As Haunted House Related Press Monster Mash-Up: The Art Gallery As Haunted House The Quietus : 29 June 2019

I didn’t get a chance to see My Head Is A Haunted House until about a week and a half after it opened. In this time (and before the opening), I’ve felt like it was omnipresent online. Constant photos of people posing with giant humping soft sculptures, the cover for the accompanying book endlessly whipping through my feed–It’s had a palpable sense...

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The ones to watch at the first ever Frieze Los Angeles Related Press The ones to watch at the first ever Frieze Los Angeles Tatler : 13 February 2019

February in LA has long been a permanent fixture in the calendars of the world's elite, who use awards season as a welcome excuse to escape the dreary drizzle in Europe and the biting cold on the East Coast. But now there's a new reason to be in Tinseltown this month: the launch of the first ever Frieze Los Angeles.

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In Video & Audio

Mike Kelley: Kandors 1999 – 2011, Hauser & Wirth Los Angeles Related Video & Audio Mike Kelley: Kandors 1999 – 2011, Hauser & Wirth Los Angeles Hauser & Wirth : 22 December 2017

Mary Clare Stevens, Executive Director, Mike Kelley Foundation of the Arts, talks about the exhibition 'Mike Kelley: Kandors 1999 – 2011 at Hauser & Wirth Los Angeles, 21 October 2017–21 January 2018

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