Exhibition catalogue First Edition Softcover 96 pages 25 x 20 cm Texts in English   New       EUR 43 ORDER

Mike Kelley, Paul McCarthy, Collaborative Works, The Power Plant, 2000

Since 1987, Mike Kelley and Paul McCarthy have collaborated on several projects including three major installations, five videos, two series of photographs, the design of the Sod and Sodie Sock catalogue, and a double CD of performances in Tokyo with Japanese noise musician Violent Onsen. 

This catalogue traces the history of Kelley and McCarthy’s collaborations and includes five critical essays by Philip Monk, Timothy Martin, Ann Goldstein, and Martin Prinzhom, each concentrating on specific works. Also included is a comprehensive exhibition history and bibliography of Kelley and McCarthy’s collaborations.

Criticism/Theory Softcover 457 pages Texts in English   New       EUR 36 ORDER

Mike Kelley, Minor Histories: Statements, Conversations, Proposals, MIT Press, 2004

What John C. Welchman calls the "blazing network of focused conflations" from which Mike Kelley's styles are generated is on display in all its diversity in this second volume of the artist's writings. The first volume, Foul Perfection, contained thematic essays and writings about other artists; this collection concentrates on Kelley's own work, ranging from texts in "voices" that grew out of scripts for performance pieces to expository critical and autobiographical writings.

Criticism/Theory First Edition Softcover 208 pages Texts in English   New       EUR 34 out of stock

Mike Kelley, Foul Perfection: Essays and Criticism, MIT Press, 2003

This book offers a diverse collection of Kelley's writings from the last twenty-five years. It contains major critical texts on art, film, and the wider culture, including his piece on the aesthetic he calls "urban Gothic." It also contains essays, mostly commissioned for exhibition catalogs and journals, on the artists and groups David Askevold, Öyvind Fahlström, Douglas Huebler, John Miller, Survival Research Laboratories, and Paul Thek, among others. Kelley's voices are passionate, analytic, and ironic, and his critical intelligence is leavened with touches of whimsy.

Artist's book First ed. of 1000 copies Soft cover, perfect binding 21 x 14 cm Texts in English / Deutsch   Very good condition       EUR 180 ORDER

Anonymous, Why I Got Into Art (Vaseline Muses), Verlag der Buchhandlung Walther König, Jablonka Gallery, 1991

Artist's book by "Anonymous" aka: Mike Kelley, detailing why he got into art -- naked women. Essay by Diedrich Diederichsen. Contains 22 photographs, in black-and-white, manipulated to have soft-core porn qualities of Yoko Ono, Lynda Benglis, Hannah Wilke, Carolee Schneemann and other woman engaged in nude dance performances, guerrilla actions, happenings, avant-garde theatre, actions, performances, gallery advertisements, body art, gesture art, etc. Published as two entities, back-to-back & upside down from each other, in one volume. Text in English and German.

Bootleg Staple-bound 95 pages Texts in English         EUR 15 out of stock

Ramaya Tegegne, Make Your Own Life: Artists In & Out of Cologne, 2014

Bootleg of the catalogue for the 2006 exhibition curated by Bennett Simpson at the ICA Philadelphia, which brought together over twenty-five artists of three generations—centering from Cologne but also including Los Angeles, New York, London, and Berlin—to explore themes of autonomy, artistic collectivity and social relationships, and the privileging of the artist's life and context as a basis for understanding creative practice. 
 
In the 1980s and early-90s, the German city of Cologne was one of the most important centers for contemporary art in Europe, if not the world. With its many galleries, artist run-spaces, and artist bars, the city assumed a kind of mythological dimension, a place where artists came to show, sell, socialize, and distinguish themselves and their work on levels symbolic and real. The open question of how one makes one's art in relation to a set of communities, histories, market conditions and social attitudes was at the core of the Cologne scene. It was fiercely debated, dramatized in exaggerated behavior, art works and exhibitions alike, and it contributed greatly to the impression that Cologne was a place of extreme self-consciousness and audacity.
 
Featuring Bernadette Corporation, Cosima von Bonin, Merlin Carpenter, Stephan Dillemuth, Michaela Eichwald, Andrea Fraser, Kim Gordon, Charline von Heyl, Gareth James, Mike Kelley, Martin Kippenberger, Jutta Koether, Michael Krebber, Louise Lawler, Hans-Jorg Mayer, Lucy McKenzie, Nils Norman, Albert Oehlen, Christian Philipp Muller, Stephen Prina, Josephine Pryde, Blake Rayne, Reena Spaulings, Josef Strau, Rosemarie Trockel, Filmgruppe West, Christopher Williams, and Christopher Wool, among others. 

Bootleg produced on the occasion of Ramaya Tegegne – Respektive at Marbriers 4, Geneva.

First Edition Softcover 64 pages Texts in English   New       EUR 30 out of stock

John Miller, Mike Kelley, A.R.T. Press, 1993

Mike Kelley interviewed by John Miller.

Mike Kelley's iconoclastic artwork assails the sunshine fantasy of the "normal" family. In an extended and intelligent interview profusely illustrated with performance stills, reproductions, and installation shots, Kelley discusses the development of his work, his interest in pop culture, and the influence of crafts on his work. 

Exhibition catalogue First Edition Soft cover, perfect binding 207 pages Texts in English / Swedish   Normal used condition       EUR 20 ORDER

Dan Cameron, What is Contemporary Art?, Rooseum, 1989

Catalogue published on the occasion of Vad är samtida konst? / What is contemporary art? at Rooseum, Malmö, May 3 – June 7, 1989.

Contains very good reproductions of works from Fischli/Weiss, Katharina Fritsch, Rosalie Gascoigne, Frederico Guzman, Georg Herold, Rebecca Horn, On Kawara, Mike Kelley, Astrid Klein, Jeff Koons, Igor Kopystianski, Sherrie Levine, Tatsuo Miyajima, Walter Obholzer, Meret Oppenheim, Perejaume, Haim Steinbach, Bill Traylor, Jeff Wall, and an essay by the exhibition's curator Dan Cameron.

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