BIOGRAPHY/BIBLIOGRAPHY

1954 Born Detroit, Michigan

1976 BFA, University of Michigan, Ann Arbor

1978 MFA, California Institute of the Arts, Valencia, CA

 

AWARDS

2006 Wolfgang Hahn Prize

2003 John Simon Guggenheim Memorial Foundation Fellowship

2000 The California Institute of the Arts Distinguished Alumnus Award

1998 The University of Michigan School of Art and Design Distinguished Alumnus Award

1997 Skowhegan Medal in Mixed Media

1990 National Endowment for the Arts Museum Program Exhibition Grant

1987 Awards in the Visual Arts Grant

1986 Artists Space Interarts Grant

1985 National Endowment for the Arts Visual Artists Fellowship Grant

Louis Comfort Tiffany Foundation Grant

 

PUBLIC COLLECTIONS

Carnegie Museum, Pittsburgh

Centre Georges Pompidou, Paris

Detroit Institute of Art, Detroit

Fonds National d’Art Contemporain

Fundación “la Caixa”, Madrid

Los Angeles County Museum of Art

Louisiana Museum, Humleback, Germany

Metropolitan Museum of Art, New York

Museum Abteiberg Mönchengladbach, Mönchengladbach, Germany

Museum Moderner Kunst, Vienna

Museum of Contemporary Art, Chicago

Museum of Contemporary Art, Los Angeles

Museum of Fine Arts, Boston

Museum of Modern Art, New York

Solomon R. Guggenheim Museum, New York

Statens Museum for Kunst, Copenhagen

Stedelijke Museum, Eindhoven

The Art Institute of Chicago

Van Abbe Museum, Eindhoven

Walker Art Center, Cincinnati

Whitney Museum of American Art, New York

 

ONE-ARTIST EXHIBITIONS

2011

“Mike Kelley: Exploded Fortress of Solitude,” Gagosian Gallery, London, United Kingdom.

“Mike Kelley: Kandors,” Museen Haus Lange. Haus Esters, Kunstmuseen Krefeld, Krefeld, Germany.

“Mike Kelley: Kandor 10 / Extracurricular Activity Projective Reconstruction #34,

Kandor 12 / Extracurricular Activity Projective Reconstruction #35,” Gagosian

Gallery, Beverly Hills, California.

 

2010

“Mike Kelley: Arenas,” Skarstedt Gallery, New York, New York.

“Mike Kelley,” Schinkel Pavillon, Berlin, Germany.

 

2009

“Horizontal Tracking Shots,” Gagosian Gallery, New York, New York. Exh. cat.

“Mike Kelley: Photographs / Sculptures,” Wako Works of Art, Tokyo, Japan. Exh. cat.

“Mike Kelley: Selections from Kandors,” Galerie Ghislaine Hussenot, Paris, France.

“Mike Kelley: A Selection of Photo Editions,” Patrick Painter Editions, Santa Monica, California.

 

2008

“Mike Kelley,” Sammlung Goetz, Munich, Germany. Exh. cat.

“Mike Kelley: Educational Complex Onwards: 1995-2008,” WIELS Centre d’Art Contemporain, Brussels, Belgium. Exh. booklet and cat.

 

2007

“Kandor-Con 2000,” Jablonka Galerie in cooperation with Harold Falckenberg at Halle 037, Ackerstrasse 76, Berlin, Germany.

“Kandors,” Jablonka Galerie, Berlin, Germany.

“Mike Kelley: Memory Ware Flats,” Skarstedt Fine Art, New York, New York.

“Mike Kelley: Hermaphrodite Drawings (2005-2006),” Gagosian Gallery, London, England.

 

2006

“Mike Kelley: Profondeurs Vertes,” musée du Louvre, Paris, France.

“Mike Kelley: Liquid Diet and Related Works,” Galerie Ghislaine Hussenot, Paris, France.

“Mike Kelley: 1975-1994 Works,” Medium, St. Bathélemy, French West Indies. Exh. cat.

 

2005

“Mike Kelley: Day Is Done,” Gagosian Gallery, New York. Exh. cat.

 

2004

“Mike Kelley,” Galerie Ghislaine Hussenot, Paris, France.

“Mike Kelley: The Uncanny,” Tate Liverpool, Liverpool, England; Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria. Exh. cat.

 

2003

“Mike Kelley: Memory Ware, Wood Grain, Carpet,” Galleria Emi Fontana, Milan, Italy. Exh. cat.

“Sod and Sodie Sock” (with Paul McCarthy), Biennale d’art contemporain de Lyon, Institut d’art contemporain, Lyon, France. Exh. cat.

“The Poetics Project 1977-1997” (with Tony Oursler), The Curve, Barbican Centre, London, England.

 

2002

“Mike Kelley: Reversals, Recyclings, Completions, and Late Additions,” Metro Pictures, New York, New York.

“Mike Kelley: The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming,” Galerie Daniel Templon, Paris, France.

“Mike Kelley: Test Room,” Galerie Art et Public, Geneva, Switzerland.

“Black Out,” Patrick Painter Inc., Santa Monica, California.

“Mike Kelley: Selected Works 1982-1990,” Skarstedt Fine Art, New York.

 

2001

“Mike Kelley,” Sperone Jr., Rome, Italy.

“Memory Ware,” Jablonka Galerie, Cologne, Germany. Exh. cat.


2000

“The Poetics Project: 1977-1997 (Documenta Version, with Tony Oursler),” Centre Georges Pompidou, Paris, France.

“Consolation Prize: Mike Kelley and John Miller,” Belkin Art Gallery, Vancouver, B.C., Canada. Exh. cat.

“Destroy All Monsters: Postmodern Multimedia and Musical Mutations (Mike Kelley, Jim Shaw and Cary Loren),” Center on Contemporary Art, Seattle, Washington.

“Mike Kelley and Paul McCarthy: Collaborative Works,” Power Plant Contemporary Art Gallery, Toronto, Ontario, Canada. Exh. cat.

“Mike Kelley: Sublevel, Framed and Frame, Test Room,” Migros Museum,

Museum für Gegenwartskunst, Zurich, Switzerland.

“Unisex Love Nest,” Galerie Daniel Bucholz, Cologne, Germany.

“Mike Kelley & Peter Fischli and David Weiss,” Sammlung Goetz and Lenbachhaus, Munich, Germany. Exh. cat.

“Mike Kelley,” Galleria Emi Fontana, Milan, Italy

“Categorical Imperative and Morgue,” Van Abbe Museum, Eindhoven, The Netherlands.

“Memory Ware,” Galerie Ghislaine Hussenot, Paris, France.

“Mike Kelley: Paintings and Drawings from the Rowan Collection,” Christie’s, New York, New York.

 

1999

Patrick Painter Inc., Santa Monica, California.

Metro Pictures, New York, New York.

“Mike Kelley and Ed Ruscha, Photographs,” Patrick Painter Inc., Santa Monica, California.

“Mike Kelley: Two Projects,” Kunstverein Braunschweig, Braunschweig, Germany. Exh. cat.

“Mike Kelley: Framed and Framed, Test Room, Sublevel,” MAGASIN: Centre National d’Art Contemporain de Grenoble. Grenoble, France. Exh. cat.

“>Mike Kelley</(Franz West)?” Hotel Empain, Brussels, Belgium. Travel to: FRAC Poitou-Charentes, Angouleme, France (2000). Exh. cat.

“Unisex Love Nest,” Steirischer Herbst 99, Palais Attems, Graz, Austria.

1998

“Mike Kelley and Paul McCarthy,” Vienna Secession, Vienna, Austria. Exh. cat.

“The Poetics Project: 1977-1997” (Barcelona version, with Tony Oursler), Lehmann Maupin Gallery, New York, New York.

“The Poetics Project: 1977-1997” (Documenta version, with Tony Oursler), Metro Pictures, New York, New York.

“Sublevel: Dim Recollection Illuminated by Multicolored Swamp Gas,” Jablonka Galerie, Cologne, Germany.

“Strange Früt: Detroit Culture” (with Jim Shaw and Carey Loren), Centrum Beeldende Kunst/Villa Alkmaer, Rotterdam, The Netherlands. In conjunction with the exhibition “I rip you, You rip me: honey, we’re going down in history.”

“Destroy All Monsters Archive” (with Jim Shaw and Carey Loren), Museum Boijmans Van Beuningen, Rotterdam, The Netherlands. In conjunction with the exhibition “I rip you, You rip me: honey, we’re going down in history.”

 

1997

“Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Wako Works of Art, Tokyo, Japan.

“Mike Kelley,” Museu d’Art Contemporani de Barcelona; Rooseum Center for Contemporary Art , Malmö, Sweden; Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. Exh. cat.

“The Poetics Project: 1977-1997” (Barcelona Version, with Tony Oursler), Patrick Painter, Inc., Santa Monica, California.

“The Poetics Project: 1977-1997” (Documenta version, with Tony Ourlser), The Watari Museum of Contemporary Art, Tokyo, Japan. Exh. cat.

“The Poetics Project: 1977-1997” (Documenta version, with Tony Oursler), Documenta 10, Kassel, Germany. Exh. cat.

 

1996

“Land O’ Lakes,” Wako Works of Art, Tokyo, Japan. Exh. cat.

 

1995

“The Thirteen Seasons (Heavy on the Winter),” Jablonka Galerie, Cologne, Germany. Exh. cat.

“Missing Time: Works on Paper 1974-1976 Reconsidered,” Kestner-Gesellschaft, Hannover, Germany. Exh. cat.

“Towards a Utopian Arts Complex,” Metro Pictures, New York. New York.

“Mike Kelley: Recent Work,” Susanne Hilberry Gallery, Birmingham, Michigan.

“Mike Kelley,” Galerie Ghislaine Hussenot, Paris, France.

“Paul McCarthy/Mike Kelley,” Kunstverein, Hamburg, Germany.

“Flags and Video Heidi,” Galerie Andreas Binder, Munich, Germany.

 

1994

Rosamund Felsen Gallery, Los Angeles, California.

“New Photographs,” Metro Pictures, New York, New York.

 

1993

“Mike Kelley: Catholic Tastes,” Whitney Museum of American Art, New York; Los Angeles County Museum of Art, Los Angeles, California (1994); Haus der Kunst, Munich, Germany (1995). Exh. cat.

“Mike Kelley and Tony Oursler: White Trash Et Phobic (Installation-Video),” Centre d’Art Contemporain, Geneva, Switzerland.

 

1992

“Mike Kelley,” Kunsthalle, Basel, Switzerland; Institute of Contemporary Art, London; CAPC, Musée d’art contemporain, Bordeaux, France. Exh. cat.

“Alma Pater (Wolverine Den),” Portikus, Frankfurt, Germany; Metro Pictures, New York, New York.

“The Riddle of the Sphinx” and “Pansy Metal/Clovered Hoof,” The Fabric Workshop, Philadelphia, Pennsylvania.

“Mike Kelley and John Boskovich,” Rosamund Felsen Gallery, Los Angeles, California.

 

1991

“Mike Kelley: Half a Man,” Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Exh. cat.

Juana De Aizpuru, Madrid, Spain.

Jablonka Galerie, Cologne, Germany.

“Lumpenprole,” Galerie Peter Pakesch, Vienna; Museum van Hedendaagse Kunst, Ghent, Belgium.

 

1990

Metro Pictures, New York, New York.

Rosamund Felsen Gallery, Los Angeles, California.

Galerie Ghislaine Hussenot, Paris, France.

 

1989

Rosamund Felsen Gallery, Los Angeles, California.

“Why I Got Into Art—Vaseline Muses,” Jablonka Galerie, Cologne, Germany.

Galerie Peter Pakesch, Vienna, Austria.

“Mike Kelley,” Jablonka Galerie, Cologne, Germany. Exh. cat.

“Pansy Metal/Clovered Hoof,” Metro Pictures, New York, New York.

“Pansy Metal/Clovered Hoof,” Robin Lockett Gallery, Chicago, Illinois.


1988

“Three Projects: Half a Man, From My Institution to Yours, Pay for Your Pleasure,” The Renaissance Society at the University of Chicago, Chicago, Illinois. Exh. cat.

“Half a Man,” Metro Pictures, New York, New York.

 

1987

“Vintage Works: 1979-1986,” Rosamund Felsen Gallery, Los Angeles, California. Two-artist exhibition with Chris Burden.

“Half a Man,” Rosamund Felsen Gallery, Los Angeles, California.

 

1985

“Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Rosamund Felsen Gallery, Los Angeles, California.

“Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile,” Metro Pictures, New York, New York.

 

1984

“The Sublime,” Metro Pictures, New York, New York.

“The Sublime,” Rosamund Felsen Gallery, Los Angeles, California.

 

1983

“Monkey Island,” Rosamund Felsen Gallery, Los Angeles, California.

“The Sublime,” Hallwalls, Buffalo, New York.

 

1982

“Monkey Island” and “Confusion,” Metro Pictures, New York, New York.

 

1981

“Meditation on a Can of Vernors,” Riko Mizuno Gallery, Los Angeles, California.

 

1979

“The Poltergeist: A Work Between David Askevold and Mike Kelley,” Foundation for Art Resources, Los Angeles, California.

 

 

GROUP EXHIBITIONS

 

2012

“This Will Have Been: Art, Love, & Politics in the 1980s,” Museum of Contemporary Art, Chicago. Exh. cat. Travel to: Walker Art Center, Minneapolis; Institute of Contemporary Art (ICA), Boston.

 

2011

“Museum der Wünsch/Museum of Desires: Jeff Wall, Louise Lawler, Mike Kelley, Isa Genzken, Franz West, Stephen Prina,” Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria. Exh. cat.

“Rear Window: Brought to you in high-def,” Patrick Painter Gallery, Santa Monica, California.

“David Askevold: The Disorientation Scientist,” Camden Arts Centre, London, United Kingdom.

“Unpainted Paintings,” Luxembourg & Dayan, New York City, New York. Exh. cat.

“Zwei Sammler: Thomas Olbricht und Harald Falckenberg,” Halle für aktuelle Kunst, Deichtorhallen, Hamburg, Germany. Exh. cat.

“The Luminous Interval,” Guggenheim Museum Bilbao, Spain.

“Made in Italy,” Gagosian Gallery, Rome, Italy.

“Power to the Imagination – Artists, Posters and Politics,” Museum für Kunst und Gewerbe, Hamburg, Germany.

“The Spectacular Vernacular,” Walker Art Center, Minneapolis. Travel to: Contemporary Arts Museum, Houston; Montclair Art Museum, Houston; Ackland Art Museum at the University of North Carolina, Chapel Hill. Exh cat.

“Let the Healing Begin,” Institute of Modern Art, Brisbane, Australia.

“Heinz and Marianne Ebers Foundation: A Collection with Stature,” Museum Haus Lange, Kunstmuseen Krefeld, Krefeld, Germany. Exh. cat.

 

2010

“Destello,” Fundacion/Coleccion Jumex, Ecatepec, Mexico.

“Alpha Omega – Works from the Dakis Joannou Collection,” DESTE Foundation for Contemporary Art, Athens, Greece.

“10,000 Lives,” Gwangju Biennale, Gwangju, Korea.

“Mike Kelley + Martin Kippenberger,” Galería Juana de Aizpuru, Madrid, Spain.

“Push and Pull,” MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna.

“Cosa fa la mia Anima Mentre sto Lavorando? Contemporary art works from Consolandi’s Collection,” MAGA Museo Arte Gallarate, Varese, Italy.

“Ordinary Madness,” Carnegie Museum of Art, Pittsburgh, Pennsylvania.

“Frances Stark Selects from the Grunwald Collection,” Hammer Museum, Los Angeles.

“Pop Life – Warhol, Harin, Koons, Hirst…” Hamburger Kunsthalle, Hamburg.

Gallery Show, Wako Works of Art, Tokyo.

“Aktualität eines Mediums. Nader Ahriman bis Chen Zhen,” Galerie Krinzinger, Vienna, Austria.

“Permanent Trouble: Aktuelle kunst aus der Sammlung Kopp,” KOG Kunstforum Ostdeutsche Galerie, Regensburg.

“Skin Fruit: Selections from the Dakis Joannou Collection,” New Museum of Contemporary Art, New York, New York.

“Take me to your Leader! The Great Escape Into Space,” The Museum of Contemporary Art / Museet for samtidskunst, Oslo, Norway.

“Aires de jeau: la Police ou est les corsairs,” Centre d’art contemporain de Quimper, le Quartier, Quimper, France.

“Collecting Biennials,” Whitney Museum of American Art, New York, New York.

“Collection of Prints and Drawings – Photographs,” Statens Museum for kunst, Copenhagen, Denmark.

“Dreamlands / Galerie 1, Niveau 6,” Centre Pompidou, Paris, France. Exh cat.

“Works on Paper from the MCA Collection, Muceum of Contemporary Art, Chicago, Illinois.

“The Mystics Circle,” Human Resources, Los Angeles, California.

“Move: Choreographing You,” Hayward Gallery, London, England. Travel to: K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany.

“Moving Images: Artists & Video / Film,” Museum Ludwig, Cologne, Germany.

“Fast Forward 2: The Power of Motion, Media Art Sammlung Goetz,” ZKM Museum of Contemporary Art, Karlsruhe, Germany. Exh. cat.

“Hungry for Death,” American Academy of Rome, Rome, Italy.

“Rewind: 1970s to 1990s,” Museum of Contemporary Art, Chicago, Illinois.

“Meet Me Inside,” Gagosian Gallery, Beverly Hills, California.

“Crash,” Gagosian Gallery, London, England. Exh. cat.

“Imaginary Museum,” New Museum, New York, New York.

“The View from Here,” San Francisco Museum of Modern Art, San Francisco, California.

 

2009

“All Creatures Great and Small,” Zacheta, National Gallery of Art, Warsaw.

“Beg Borrow and Steal,” Rubell Family Collection, Miami, Florida.

“Dance With Camera,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia. Exh. cat. Travel to: Contemporary Arts Museum, Houston.

“La planete des signes (Erudition concrete 1),” FRAC Ile-de-France Le Plateau, Paris, France.

“Major Works of Paper,” Patrick Painter, Inc., Santa Monica, California.

“Estatic Abbstraction,” Gagosian Gallery, West 24th Street, New York, New York.

“Emotional Community,” Monitor, Rome, Italy.

“Land,” Collaborative Exhibition, 101 Exhibit, Miami, Florida.

“Mike Kelley, David LaChapelle, Sherrie Levine, Andres Slominski, Haim Steinbach,” Jablonka Galerie, Cologne, Germany.

“Pop Life: Art in a Material World,” Tate Modern, England. Travel to: National Gallery of Canada, Musée des beaux arts du Canada, Ottowa, Ontario, Canada.

“Les Enfants Terribles,” Colección Jumex, Ecatepec de Morelos, Mexico.

“Insiders,” Arc en Rêve Centre d’Architecture CAPC Museé d’Art Contemporain, Bordeaux, France. Exh. cat.

“Qui a peur des artistes?” Palais des Arts et du Festival of Dinard, Paris, France. Exh. cat.

“ZwischenZonen: La Colección Jumex, Mexico,” MUMOK (Museum Moderner Kunst Stiftung Ludwig), Vienna, Austria. Exh. cat.

“A Voyage of Growth and Discovery,” collaboration with Michael Smith. Sculpture Center, Long Island, New York. Travel to: West of Rome, Los Angeles, California.

“SONIC YOUTH etc.: Sensational Fix,” Malmö Konsthall, Malmö, Sweden. Travel to: CA2M Centro de Arte Dos de Mayo, Móstoles, Spain.

“Listen Darling… The World is Yours,” Ellipse Foundation, Alcoitão, Portugal.

“Self-Portraits,” Skarstedt Gallery, New York, New York.

“Collecting History: Highlighting Recent Acquisitions,” Museum of Contemporary Art, Los Angeles, California.

“Rock – Paper – Scissors: Pop Music as Subject of Visual Art,” Kunsthaus Graz am Landemuseum Joanneum, Graz, Austria. Exh. cat.

“Mike Kelley / Terence Koh / Jeff Koons,” Mary Boone Gallery, New York, New York.

Group exhibiton, Metro Pictures Gallery, New York, New York.

“Group Show: John Baldessari, Jean-Michel Basquiat, Gerhard Richter, Sol Lewitt, Richard Prince, Andy Warhol, Liza Lou, Donald Judd & Mike Kelley,” L & M Arts, New York, New York.

“Trahison,” CAPC – Musee d’art Contemporain, Bordeaux, France.

“Remembering Henry’s Show: Selected Works 1978-2008,” The Brant Foundation Art Study Center, Greenwich, Connecticut.

“The Same River Twice: Part 2, IMA Institute of Modern Art, Brisbane, Queensland, Australia.

“Rewind, Fast Forward: Videokunst aus der Sammlung der Neuen Galerie Graz von 1970 bis huete,” Neue Galeria, Universalmuseum Joanneum, Graz, Austria.

“More Love Hours Than Can Ever Be Repaid,” Galerie Feinkost, Berlin, Germany.

Mapping the Studio: Artists from the Francois Pinault Collection,” Punta Della Dogana, Venice, Italy. Exh. cat.

“Un Certain Etat du Monde? (A Certain State of the World?): A Selection of Works from the Francois Pinault Foundation,” The Garage Center for Contemporary Culture, Moscow, Russia. Exh. cat.

“Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection,” Museum of Modern Art, New York, New York. Exh. cat.

“Colour Chart: Reinventing Colour, 1950 to Today,” Tate Liverpool, Liverpool, England. Exh. cat.

“Bijoux de Famille,” Galerie Chantal Crousel, Paris, France. Exh. booklet.

“Regift,” Swiss Institute, New York, New York. Exh. booklet.

“live art /levende scene,” Kunstnernes Hus, Oslo, Norway.

“Richard Prince, Martin Kippenberger, Mike Kelley,” Skarskedt Fine Art, New York, New York.

 

2008

“Text/Messages: Books by Artists,” Walker Art Center, Minneapolis, Minnesota.

“Looking Back: The White Columns Annual, selected by Jay Sanders, White Columns, New York, New York.

“Listen Darling… The World is Yours,” Ellipse Foundation, Alcoltão, Spain.

“Close Up,” Fruitmarket Gallery, Edinburgh, Scotland.

“Rock My Religion 1,” Somus Artlum 2002, Salamanca.

“(NO) VACANCY,” Galleria Maze, Turin, Italy.

“La gran transformacion: Arte y magia tactica,” MARCO Museo de Arte Contemporánea de Vigo, Vigo.

“Political Corect,” BFAS Blondeau Fine Art Services SA, Geneva, Switzerland.

“La Invención de Lo Cotidiano (The Practice of Everyday Life),” Museo Nacional de Arte, Mexico City, Mexico. Exh cat.

“Passioniert Provokativ Die Sammlung Stoffel,” Pinakothek der Modern, Munich, Germany. Exh. cat.

“Holy Inspiration: Religion and Spirituality in Modern Art,” De Nieuwe Kerk, Amsterdam. Exh. cat.

“For What You Are About to Receive,” Red October Chocolate Factory, Gagosian Gallery, Moscow, Russia. Exh. cat.

“Yokohama 2008: International Triennale of Contemporary Art,” Shinko Pier Exhibition Hall, Yokohama, Japan. Exh. cat.

“Carte Blanche III: Gedichte der Fakten: Arbieten aus der Sammlung Arend und Brigitte Oetker,” Galerie für Zeitgenössische Kunst, Leipzig, Germany. Exh. cat.

“Translocalmotion,” 7th Shanghai Biennale 2008, Shanghai, China. Exh. cat.

“One More, With Feeling,” Institute of Modern Art, Brisbane, Australia.

“Faces and Figures (Revisited),” Marc Jancou Contemporary, New York, New York. Exh. cat.

“Special Project: Mr. Peanut, Haim Steinbach on Mike Kelley,” Overduin and Kite, Los Angeles, California.

“Sonic Youth etc. Sensational Fix,” Museion, Museum für moderne und zeitgenössische Kunst, Bolzano, Italy.

“Close-up: Proximity and defamiliarisation in art, film, and photography,” The Fruitmarket Gallery, Edinburgh, Scotland. Exh. cat.

“Pierwszy Krok (First Step…Towards a Collection of Contemporary Art,” National Museum of Krakow, Krakow, Poland. Exh. cat.

“Index: Conceptualism in California from the Permanent Collection,” Geffen Contemporary, Museum of Contemporay Art, Los Angeles, California.

“Summer Show: Gerhard Richter, Mike Kelley, Joan Jonas, Wolfgang Tillmans, Takeshi Masada and more,” Wako Works of Art, Tokyo, Japan.

“Order. Desire. Light. An exhibition of comtemporary drawings,” Irish Museum of Modern Art, IMMA, Dublin, Ireland.

“Fair Market,” Rental Gallery, New York, New York.

“Painting Now and Forever, Part II,” Matthew Marks Gallery and Greene Naftali Gallery, New York, New York.

“Ready Made,” Yvon Lambert, Paris, France.

“Hotel California,” Galerie Georges-Philippe & athalie Vallois, Paris.

“Won’t Grow Up,” Cheim & Read, New York, New York.

“In the Land of Retinal Delights: The Juxtapoz Factor,” Laguna Art Museum, Laguna Beach, California.

“Prèsence Panchounette,” CAPC Musée d’art contemponain, Bordeaux, France.

“Meet Me Around the Corner: Works from the Astrup Fearnley Collection,” Astrup Fearnley Museet for Moderne Kunst, Oslo, Norway.

“The Great Transformation: Kunst und taktische Magie, Frankfurter Kunstverein, Frankfurt/Main, Germany.

“Paul Thek: Werschau im Kontext zeitgenössischer Kunst,” Sammlung Falckenberg – Kulturstiftung Phoenix Art, Hamburg, Germany.

“Paul Thek in the Context of Today’s Contemporary Art,” ZKM Museum of Contemporary Art, Karlsruhe, Germany. Travel to: Sammlung Falckenberg Hamburg, Germany.

“Sympathy for the Devil: Art of Rock and Roll Since 1967, Museum of Contemporary Art, North Miami (MOCA), Miami, Florida.

“Peripheral Vision and Collectve Body,” MUSEION Museum für moderne und zeitgenössische Kunst, Bolzano.

“Blasted Allegories: Werke aus der Sammlung Ringier,” Kunstmuseum Luzern, Luzern.

“Collectie XXII Fantasy,” MuKHA Museum voor Hedendaagse Kunst Antwerpen, Antwerp.

“Life on Mars: 55th Carnegie International,” Carnegie Museum of Art, Pittsburgh, Pennsylvania. Exh. cat.

“Martian Museum of Terrestrial Art,” Barbican Centre, London, England. Exh. cat.

“Jedermann Collection – Set 5 from the Fotomuseum Winterthur Collection,” Fotomuseum Winterthur, Zurich, Switzerland. Exh. cat.

“Adotta un Disegno (Adopt a Drawing),” Complesso del Vittoriano, Rome, Italy. Travel to: Palazzo Ducale, Genoa, Italy.

“Prefab,” Gagosian Gallery, New York, New York.

“Wako Works of Art: 15 Years / Part IV,” Wako Works of Art, Tokyo, Japan.

“California Video,” The Getty Center, Los Angeles, California. Exh. cat.

“Slightly Unbalanced,” Chicago Cultural Center, Chicago, Illinois. Travel to: Huntington Museum of Art, Huntington, West Virginia; Museum London, London, Ontario; Huntington Museum of Art, Huntington, West Virginia; Rodman Hall Arts Center, St. Catharines, Ontario; Paul and Lulu Hilliard University Art Museum, Lafayette, Louisiana; Joel and Lila Harnett Museum of Art, University of Richmond Museums, Richmond, Virginia. Exh. cat.

“Color Chart: Reinventing Color, 1950 to Today,” The Museum of Modern Art, New York, New York. Travel to: Tate, Liverpool, England. Exh. cat.

“Prefab,” Gagosian Gallery, Madison Avenue, New York, New York.

“Jesuvian Process,” Elizabeth Dee Gallery, New York, New York.

“BCAM,” Broad Contemporary Art Museum, Los Angeles County Museum of Art, Los Angeles, California.

“Do Not Play with Dead Things,” Centre National d’Art Contemporain, Villa Arson, Nice, France. Exh. cat.

“Disorderly Conduct: Recent Art in Tumultuous Times,” Orange County Museum of Art, Newport Beach, California.

“Colateral 2: Quando a arte olha o cinema,” SESC (Serviço Social do Comércio) Avenida Paulista, São Paulo, Spain. Exh. cat.

“Eyes Wide Open,” Stedelijk Museum CS, Amsterdam, The Netherlands.

“The Puppet Show,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania. Travel to: Santa Monica Museum of Art, Santa Monica, California; The Contemporary Museum, Honolulu, Hawaii; The Contemporary Arts Museum, Houston, Texas; Frye Art Museum, Seattle, Washington. Exh. cat.

 

2007

“Eyes Wide Open: New to the Stedelijk & the Monique Zajfen Collection,” Stedelijk Museum Amsterdam, Amsterdam.

“XMAS HYSTERIA,” Galleria Emi Fontana, Milan, Italy.

“Paul Thek: Werkschau im Kontext,” ZKM, Karlsruhe, Germany.

“Multiplex: Directions in Art, 1970 to Now,” MoMA Museum of Modern Art, New York City, New York.

“Come, come, come into my world,” Eclipse Foundation, Alcoitão, Portugal.

“Fit to Print: Printed media in Collage,” Gagosian Gallery, Madison Avenue, New York, New York.

“Idylle: Zwishen Traum und Trugschluss,” Galerie der Stadt Reimscheid, Remscheid.

“Video Trajectories: Selections from the Pamela and Richard Kramlich Collection and the New Art Trust,” MIT List Visual Arts Center, Cambridge, Massachusetts.

“Sound Art Limo, Melbourne,” Melbourne International Arts Festival, Melbourne, Victoria, Australia.

“Pop Art is…,” Gagosian Gallery, Britannia Street, London, England.

“Refugees of Group Selection,” Franklin Parrasche Gallery, New York, New York.

“Unholy Truths,” Initial Access Frank Cohen Collection, Wolverhampton, England.

Group Show, Bernier/Eliades Gallery, Athens, Greece.

“Makers and Modelers: Works in Ceramic,” Gladstone Gallery, 24th Street, New York, New York.

“John Duncan & Extended Organ,” Jail Gallery, Los Angeles, California.

“Who’s got the Big Picture?” MuHKA Museum voor Hedendaagse Kunst Antwerpen, Antwerp.

“Substance & Surface,” Bortolami, New York, New York.

Summer Show, Gagosian Gallery, West 24th Street, New York.

“Le cince anime della scultura,” Cesac Centro Sperimentale per le Arti Contempoanee, Caraglio.

“Idilio I,” DA2 Domis Artium 2002, Salamanca.

“Performance on Demand: EAI Viewing Room at EFA Gallery,” EFA Gallery, New York, New York.

“Sequence 1: Painting and Sculpture in the François Pinault Collection,” Palazzo Grassi, Punta Della Dogana, Venice, Italy. Exh. cat.

“L.A. Desire (Part 1),” Galerie Dennis Kimmerich, Dusseldorf.

“Alone in the Jungle,” Mandarin Gallery, Los Angeles, California.

“Into Me, Out of Me,” MACRO Future, Rome, Italy.

“Quotidian,” BUIA Gallery, New York, New York.

“Sound Art Limo, NY,” Armory International Art Fair (Piers), New York, New York.

“Poetics Country,” Ferenbalm-Gurbrü Station, Karlsruhe.

“Foto.Kunst,” Essl Museum, Kunst der Gegenwart, Klosterneuburg, Austria. Exh cat.

“Works in Ceramic,” Gladstone Gallery, New York, New York.

“Kunst Aus Los Angeles der 60er bis 90er Jahre,” Kunstverein Braunschweig, Braunschweig, Germany. Exh cat.

“A Theater Without Theater,” Museu d’Art Contemporani de Barcelona, Barcelona, Spain.

“Radio Daniele” (sound art projects radio program), Bologna, Italy; Kunsthalle Zurich, Zurich, Switzerland.

“Sympathy for the Devil,” Museum of Contemporary Art, Chicago, Illinois.

“Evidence of Movement (featuring Close Radio Podcast),” The Getty Center, Los Angeles, California.

“Sounding the Subject: Selections from the Pamela and Richard Kramlich Collection and the New Art Trust–Video Trajectories,” MIT List Visual Arts Center, Cambridge, Massachusetts. Exh. cat.

“A Point in Space Is a Place for an Argument,” David Zwirner Gallery, New York, New York.

“The Present: The Monique Zajfen Collection,” Stedelijk Museum CS, Amsterdam, The Netherlands.

“Love Addiction: pratiche video dal ’61 ad oggi,” GC.AC Galleria Comunale d’Arte Contemporanea di Monfalcone, Monfalcone.

“Skulptur Projekte Münster 07,” Münster, Germany.

“Dr. Matthys Collection,” Museum Dhondt-Dhaenens, Deurie, Belgium.

“Collateral: When Art Looks Like Cinema,” Hangar Bicocca, Milan, Italy.

“REALLIFE 1979-1990,” Artists Space, New York City, New York.

“Link,” Mitterrand+Cramer/Fine Art/Geneve, Geneva, Switzerland.

 

2006

“Modern and Contemporary Master Drawings,” Connaught Brown Gallery, London, England. Exh. cat.

“All the Best: The Deutsche Bank Collection and Zaha Hadid,” Exh. cat. Deutsche Gugenheim, Berlin, Germany. Travel to: Hara Museum,Tokyo, Japan; Singapore Art Museum, Singapore.

“Works on Paper,” Patrick Painter Inc West Gallery, Santa Monica, California.

“Where Are We Going?: Selections from the François Pinault collection,” Palazzo Grassi, Venice, Italy. Exh. cat.

“Down by Law,” Whitney Museum of American Art, New York, New York.

“Joni Gordon 33 Years at Newspace, 1973-2006: ‘Good to Go,’” Newspace, Los Angeles, California.

“Make Your Own Life: Artist’s in and Out of Cologne,” Institute of Contemporary Art, Philadelphia, Pennsylvania; Henry Art Gallery, University of Washington, Seattle; Museum of Contemporary Art, North Miami, Florida. Exh. cat.

“Inventory: Works from the Herbert Collection,” Kunsthaus Graz am Landesmuseum Joanneum, Graz, Austria. Exh. cat.

“Im Anfang War das Wort,” Haus der Kunst, Munich, Germany. Exh. cat.

“Everybody Dance Now,” Elizabeth Foundation for the Arts Gallery, New York, New York.

“Partial Recall,” Lehmann Maupin Gallery, New York, New York.

“Yes Bruce Nauman,” Zwirner & Wirth, New York, New York.

“On Second Thought,” Perry Rubenstein Gallery, New York, New York.

“Replay – The Aesthetics of Art and Music / Punk,” MAGASIN-Centre National d’art Contemporain de Grenoble, Grenoble.

“Goethe abwärts: deutsche Jungs etc.,” Mönchehaus-Museum Goslar, Goslar.

“Made in USA,” Galerie de multiples, Paris, France.

“Kunst aus Los Angeles: der 60er bis 90er Jahre,” Kunstverein Braunschweig, Braunschweig, Germany. Exh. cat.

“BIACS 2: Second International Biennial of Contemporary Art of Seville,” Fundacion BIACS, Seville, Spain. Exh. cat.

“Red Eye: L.A. Artists from the Rubell Family Collection,” Rubell Family Collection, Miami, Florida.

“Full House: Views of the Whitney’s Collection at 75,” Whitney Museum of American Art, New York, New York.
“Into Me/Out of Me,” P.S. 1 Contemporary Art Center, Long Island City, New York. Exh. cat. Travel to: KW Institute for Contemporary Art, Berlin; MACRO Museo d’Arte Contemporanea di Roma, Rome.

“Faire des choses avec des mots / Making words with things,” CRAC Centre Régional d’Art Contemporain de Sète, Sète.

“Magritte and Contemporary Art: The Treachery of Images,” Los Angeles Contemporary Museum of Art, Los Angeles, California. Exh. cat.

“The 80s: A Topology,” Museo de Arte Contemporanea de Serralves, Porto, Portugal. Exh. cat.

“Idylle: Zwishen Traum und Trugschluss,” Sammlung Falckenberg, Kulturstiftung Phoenix Art, Hamburg.

“Kunstraum Grässlin: Mike Kelley, Martin Kippenberger, Albert Oehlen,” Sammlung Grässlin, St. Georgen, Germany.

“Sound & Vision,” Museo della Città, Perugia.

“The Line of Beauty,” Kathleen Cullen Fine Arts, New York, New York.

“Infinite Painting: Contemporary Painting and Global Realism,” Villa Manin, Centri d’arte cintemporanea, Codroipo.

“Not Quite Ten Years Without Martin Kippenberger,” MOT International, London, England.

“Drawn into the World: Drawings from the MCA Collection,” Museum of Contemporary Art, Chicago, Illinois.

“Without Boundary: Seventeen Ways of Looking,” The Museum of Modern Art, New York, New York. Exh. cat.

“Cárcel de amor,” Fundación Luis Seoane, A Caruña

“School of Hard Knocks,” Monte Clark Gallery, Vancouver, Britisch Columbia, Canada.

“Hundert Küsse sind besser als einer (Hundred Kisses are Better than One,” Krinzinger Projekte, Vienna, Austria.

“Cavities-Space Personified,” Cal State Fullerton Visual Arts Center, Fullerton, California.

“L.A. Art Scene,” Centre Georges Pompidou, Paris, France. Exh. cat.

“Public Space/Two Audiences: Works and Documents from the Herbert Collection,” Museu d’Art Contemporani de Barcelona, Barcelona, Spain.

“Ego Mania: Just When I Think I’ve Understood…,” Galleria Civica, Modena, Italy. Exh. cat.

“A Handful of Dust,” Anthony Reynolds Gallery, London, England.

“Photography, Film, Video: Constructing Realities,” The Pace Gallery, New York, New York.

 

2005

“De la comtesse De Castiglione à Cindy Sherman,” New Galerie de France, Paris, France.

“Lichtkunst aus Kunstlicht,” ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe.

“With us against reality, or against us!” Galleri S.E, Bergen.

“At the Mercy of Others: The Politics of Care,” Graduate Center at KUNY, New York, New York.

“Goetz Meets Falckenberg,” Sammlung Falckenberg Kulturstiftung Phoenix Art, Hamburg-Harburg, Germany. Exh. cat.

“Translation,” Palais de Tokyo, Paris, France. Exh. cat.

“Looking At Words: The Formal Presence of Text in Modern and Contemporary Works on Paper,” Andrea Rosen Gallery, New York, New York.

“Contemporary Art,” Skarskedt Fine Art, New York, New York.

“Self Portraits,” Skarstedt Fine Art, New York, New York.

“Center for the Arts,” Eagle Rock Center for the Arts, Los Angeles, California.

“Private View 1980-2000, Collection Pierre Huber,” Le Musée cantonal des Beaux-Arts, Lausanne, Switzerland. Exh. cat.

“Faites vos jeux! Kunst und Spiel seit Dada,” Kunstmuseum Liechtenstein, Vaduz.

“Spielräume,” Stiftung Wilhelm Lehmbruck Museum, Center of International Sculpture, Duisburg.

“Collectie Zomer 2005: de Zomer van Middleburg, MuHKA Museum voor Hedendaagse Kunst Antwerpen, Antwerp.

Group Show, Metro Pictures Gallery, New York, New York.

“At the Mercy of Others: The Politics of Care,” Whitney Museum of American Art, New York, New York.

“(my private) Heroes,” MARTa Herford, Herford.

“Cárcel de Amor / Prison of Love,” Museo Nacional Centro de Arte Sofía MNCARS, Madrid.

“Relations,” Galerie Kamm, Berlin.

“The Final Floor Show,” Objectif exhibitions, Antwerp.

“Highlights,” Statens museum for kunst, Copenhagen.

“Urban Cocktail,” Walker Art Center, Minneapolis, Minnesota.

“Auswahl 1 – Die Sammlung der Provinzial zu Gast im Museum Abteiberg, Stätisches Museum Abteiberg, Mönchengladbach.

“Flashback: Revisiting the Art of the Eighties,” Museum für Gegenwartskunst, Basel, Germany. Exh. cat.

“Greater than the Sum: Selections from the Craig Robins Collection of Contemporary Art,” Mofa Florida State University Museum of Fine Arts, Tallahasse, Florida.

“Entdecken und Besitzen,” Museum Moderner Kunst Stiftung Ludwig MOMOK, Vienna, Autria.

“Interstate,” Nicole Klagsbrun Gallery, New York, New York.

“Drunk vs. Stoned 2,” General Store of Milwaukee and Gavin Brown’s Enterprise, New York, New York.

“Trials and Terrors,” Museum of Contemporary Art, Chicago, Illionois.

Summer Group Show, Skarstedt Fine Art, New York, New York.

“The Blake Byrne Collection,” Museum of Contemporary Art, Los Angeles, California. Exh. cat.

“Mixed-Up Childhood,” Auckland Art Gallery, Auckland, New Zealand. Exh. cat.

“Chocolate Art,” Museum Ludwig, Cologne, Germany; Imhoff-Stollwerck-Museum, Cologne Germany; Hatje Cantz, Cologne, Germany. Exh. cat.

“L’Art de Vivre,” Lehmann Maupin, New York, New York.

 

2004

“MOCA 25th Anniversary Gala,” The Geffen Contemporary, Los Angeles, 2004.

“Dimensione Follis (Dimension Folly),” Galleria Civica di Arte Contemporanea, Trento, Italy.

“Drafting Deceit,” apexart, New York, New York.

“WOW (The Work of the Work),” Henry Art Gallery, University of Washington, Seattle, Washington. Exh. cat.

“Jahresgaben 04/05,” Kunstverein Braunschweig, Braunschweig, Germany. Exh. cat.

“Taschen Collection,” Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain. Exh. cat.

“Les Enfants Terrible: Il linguaggio dell’infanzia nell’Arte 1909-2004,” Museo Cantonale di Lugano, Lugano, Italy. Exh. cat.

“Los Angeles Contemporary Exhibitions, 25th Annual Benefit Auction,” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Monument To Now: The Dakis Joannou Collection,” DESTE Foundation for Contemporary Art, Athens, Greece. Exh. cat.

“Off the Record: Sound Arc,” ARC/ Musée d’Art Moderne de la Ville de Paris, Paris, France.

“Likeness: Portraits of Artists by Other Artists,” Independent Curator’s International, New York, New York and CCA Wattis Institute for Contemporary Arts, San Francisco, California. Travel to: California College of Arts, Wattis Institute, San Francisco, California; McColl Center for Visual Art, Charlotte, North Carolina; Insitute of Contemporary Art, Boston, Massachusetts; Dalhousie University Art Gallery, Halifax, Nova Scotia, Canada; University Art Museum, California State University at Long Beach, Long Beach California; Illingworth Kerr Gallery, Alberta College of Art and Design, Calgary, Alberta, Canada; Contemporary Art Center, Virginia, Virginia Beach, Virginia. Exh. cat.

“Site Santa Fe: Fifth International Biennial/ Disparities and Deformations: Our Grotesque,” Santa Fe, New Mexico. Exh. cat.

“I Am The Wrath Of God,” MOT, London, England.

“Animals,” Haunch of Venison, London. Exh. cat.

“100 Artists See God,” Independent Curator’s International, New York, New York. Travel to: Jewish Museum, San Francisco, California; Laguna Art Museum, Laguna Beach, California; Contemporary Art Center of Virginia, Virginia Beach, Virginia; Institute of Contemporary Arts, London. Exh. cat.

“100 Artists See Satan,” California State University Fullerton, Grand Central Art Center, Fullerton, California. Exh. cat.

“Paradiso e Inferno,” Fondazione Bevilacqua La Masa, Comune di Venezia, alleria di Piazza S. Marco 71/c, Venice, Italy. Exh. cat.

 

2004

“White: Whiteness and Race in Contemporary Art.” Center for Art and Visual Culture, University of Maryland, Baltimore, Maryland; International Center for Photography, New York. Exh. cat.

 

2003

“The Not-So-Still-Life. A Century of California Painting and Sculpture,” San Jose Museum of Art, San Jose, California. Exh. cat.

“Fast Forward: Media Art Sammlung Goetz,” ZKM, Karlsruhe, Germany. Exh. cat.

“The Disembodied Spirit,” Bowdoin College Museum, Brunswick, Maine. Exh. cat.

“Stars. Une Exposition – Promenade Parodic,” École Supérieure des Beaux-arts de Tours, Tours, France.

“Il racconto del filo. Ricamo e cucito nell’arte contemporanea,” MART, Trento, Italy.

“Catastrofi minime,” MAN, Nuoro, Italy. Exh. cat.

“Biennale d’Art Contemporain de Lyon 2003: C’est arrive demain” (with Paul McCarthy), Musée d’Art Contemporain, Lyon, France.

“Outlook: International Art Exhibition Athens,” Factory, Athens School of Fine Arts, Athens, Greece.

“Sitings: Installation Art 1969-2002,” Museum of Contemporary Art at The Geffen Contemporary, Los Angeles, California.

“At Work: The Art of California Labor,” California Historical Society, San Francisco, California; Fine Arts Gallery, San Francisco State University, San Francisco, California. Exh. cat.

“Bienal de Valencia: La Ciudad Ideal,” Generalitat Valenciana, Valenciana, Spain.

“Numéro Zéro,” Centre National de l’Estampe et de l’Art Imprimé, Chatou, France.

“Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust,” Institute of Contemporary Arts, London, England.

“Micropolitics: Art and Everyday Life (2001-1968),” Espai d’Art Contemporani de Castello, Valenciana, Spain. Exh. cat.

“False Innocence,” Fundació Joan Miró, Barcelona, Spain. Exh. cat.

“Trésors Publics” (w/ Paul McCarthy), Musée d’ Art Moderne et d’ Art Contemporain de Strasbourg, Strasbourg, Germany.

“Do It,” Soo Visual Arts Center, Minneapolis, Minnesota.

“Phantom of Desire: Visions of Masochism in Art,” Neue Galerie Graz; Stadtmuseum Graz; Landesmuseum Joanneum, Graz, Austria.

“Raid The Icebox—From the Backroom: Artists Select,” Margo Leavin Gallery,

Los Angeles, California.

“Capp Street Project: 20th Anniversary Exhibition,” CCAC Wattis Institute for Contemporary Arts; Logan Galleries, San Francisco, California. Exh. cat.

“MARS – Art and War,” Gesellschaft der Freunde der Neuen Galerie, Graz, Austria.

 

2002

“Pollock to Today: Highlights from the Permanent Collection,” Whitney Museum of American Art, Neew York, New York.

“L’arte del gioco. Da Klee a Boetti,” Museo Archeologico Regionale,
Aosta, Aosta, Italy.

“Almost Warm & Fuzzy: Childhood and Contemporary Art,” Cleveland Center for Contemporary Art, Cleveland, Ohio. Exh. cat.

“The Object Sculpture,” The Henry Moore Institute, Leeds, United Kingdom. Exh. cat.

“Garden of Violence,” Historical Museum of Murten, Switzerland.

“Art Downtown,” Wall Street Rising, New York, New York.

Permanent Collection Exhibition, The Metropolitan Museum of Art, New York, New York.

“Shoot the Singer: Music on Video,” Institute of Contemporary Art, University of Pennsylvania, Pittsburg, Pennsylvania.

“Hommage an Rudolf Schwarzkogler, 30 Jahre Galerie Krinzinger,” Galerie Krinzinger, Vienna, Austria.

“5 X 5 Five by Five: Contemporary Artists on Contemporary Art,” Whitney Museum of American Art at Phillip Morris, New York, New York.

“Self-portraits and portraits,” WAKO Works of Art, Tokyo, Japan.

“Last Spring in Paris,” Patrick Seguin Gallery, Paris, France.

“2002 Whitney Biennial Exhibition,” Whitney Museum of American Art, New York, New York.

“Conversations?—Recent acquisitions of the Van Abbemuseum,” Academy of Fine Arts, Athens, Greece.

“Sonic Process: A New Geography of Sound,” Centre Georges Pompidou, Paris, France; Museu d’Art Contemporani de Barcelona, Barcelona, Spain. Exh. cat.

“Material World: From Lichtenstein to Viola, 25 Years of The Fabric Workshop and Museum,” Museum of Contemporary Art, Sydney, Australia.

“Mutiples objets de désir: Acquisitions 2001 du Fonds national d’art contemporain,” Musée des Beaux-Arts de Nantes, Nantes, France.

“Music in Me,” Gesellschaft für Aktuelle Kunst, Bremen, Germany.

“Laid Bare,” Bergen Kunsthall, Bergen, Norway. Exh. cat.

 

2001

“Los Angeles Artists for the Benefit of New York City,” Yamagata Studio, Los Angeles, California.

“A Room of Their Own: From Rothko to Rauschenberg, From Arbus to Gober,” Museum of Contemporary Art, Los Angeles, California.

“Desire Admire Acquire,” Arcadia University Art Gallery, Glenside, Pennsylvania.

“Eye Infection,” Stedelijk Museum, Amsterdam, The Netherlands. Exh. cat.

“Artists Take on Detroit: Projects for the Tricentennial,” The Detroit Institute of Arts, Detroit, Michigan. Exh. cat. <http://www.dia.org/artiststake>.

“Painter Editions: Recent Projects,” Patrick Painter Inc., Santa Monica, California.

“Uniform Order and Disorder,” Stazione Leopolda, Florence, Italy. Exh. cat.

“Painting at the Edge of the World,” Walker Art Center, Minneapolis, Minnesota. Exh. cat.

“Camera Works: The Photographic Impulse in Contemporary Art,” Marianne Boesky Gallery, New York, New York.

“Retorn al País de les Meravelles: L’art contemporani i la infància,” Centre Cultural de la Fundació “la Caixa,” Barcelona, Spain. Exh. cat.

“Neue Welt,” Frankfurterkunsterverein, Frankfurt, Germany.

“American Art from the Goetz Collection, Munich,” Galerie Rudolfinum, The Center of Contemporary Art, Prague, Czech Republic.

“Biennale de Lyon, Art contemporain,” Musée d’ Art contemporain, Lyon, France. Exh. cat.

“The Global Guggenheim: Selections from the Extended Collection,” Solomon R. Guggenheim Museum, New York, New York. Exh. cat.

“Bienal de Valencia,” Generalitat Valenciana, Valenciana, Spain.

“un art populaire,” Fondation Cartier pour l’art contemporain, Paris, France.

“After the Beginning and Before the End: Instruction Drawings,” Bergen Art Museum, Bergen, Norway.

“Homes for the Soul: Micro-Architecture in Medieval and Contemporary Art,” Gallery 4, Henry Moore Institute, Leeds, United Kingdom.

“Play’s the Thing: Critical and Transgressive Practices in Contemporary Art,” Art Gallery of the Graduate Center, The City University of New York, New York.

“Art>Music (rock, pop, techno),” Museum of Contemporary Art, Sydney, Australia.

“Beautiful Productions, art to play, art to wear, art to own: Collaborations with Parkett, 1984 to now,” Museum of Modern Art, New York, New York; Whitechapel, London, England. Exh. cat.

“Trans>Editions,” Chac Mool Gallery, Los Angeles, California.

 

2000

“21st Annual Benefit Art Auction,” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Open Ends: 11 Exhibitions of Contemporary Art from 1960 to Now,” Museum of Modern Art, New York, New York.

“Almost Warm & Fuzzy,” Tacoma Art Museum, Tacoma, Washington.

“Apocalypse: Beauty and Horror in Contemporary Art,” Royal Academy of Arts, London, Engalnd. Exh. cat.

“Arte Americana: Ultimo Decennio,” Loggetta Lombardesca, Ravenna, Italy. Exh. cat.

“Art in the 80’s.” P.S.1 Contemporary Art Center, Long Island City, New York.

“Let’s Entertain,” Walker Art Center, Minneapolis, Minnesota; Portland Art Museum, Portland, Oregon; Centre Georges Pompidou, Paris, France; Museo Rufino Tomayo, Mexico City, Mexico (2001); Miami Art Museum, Miami, Florida (2001); Kunstmuseum Wolfsburg, Wolfsburg, Germany (2001). Exh. cat.

“American Photographs,” Wako Works of Art, Tokyo, Japan.

“There is Something You Should Know: Die EVN Sammlung im Belvedere,” Austrian Galerie Belvedere, Vienna, Austria.

“Food for the Mind: Die Sammlung Udo and Anette Brandhorst,” Staatsgalerie moderner Kunst in the Haus der Kunst, Munich, Germany. Exh. cat.

“Sonic Matters, Sonic Collaborations,” Printed Matter, Inc., New York New York.

“Made in California,” Los Angeles County Museum of Art, Los Angeles, California. Exh. cat.

“Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects: Works from the collection of Annick and Anton Herbert,” Casino Luxembourg – Forum d’art contemporain, Luxembourg, Luxembourg. Exh. cat.

 

1999

“Fluffy,” Dunlop Art Gallery, Regina, Canada.

“Zeitwenden,” Kunstmuseum Bonn, Bonn, Germany. Travel to: Museum Moderner Kunst Siftung Ludwig Vien; Künstlerhaus, Vienna, Austria (2000). Exh. cat.

“The Rowan Collection: Passion and Patronage,” Mills College Art Museum, Oakland, California.

“Plain Air,” Barbara Gladstone Gallery, New York, New York.

“Vergiss den Ball und speil’weiter: Das Bild des Kindes in zeitgenossischer Kunst und Wissenschaft,” Kunsthalle Nuremberg, Nuremberg Germany. Exh. cat.

“Veronica’s Revenge: Photographies de la collection LAC-Suisse,” Casino Luxembourg; Musée National D’Histoire et D’art, Luxembourg, Luxembourg.

“Art de Vivre: une exposition d’oeuvres de la collection du Frac Languedoc-Roussillon,” ATA Centre d’Art Contemporain; Galerie Ata-ray, Sofia, Bulgaria.

“Six Americans: Gober, Kelley, Koons, Prince, Sherman, Wool,” Skarstedt Fine Art, New York.

“A.R.T. Press Portfolio,” David Adamson Gallery, Washington D.C.

“Drawn By,” Metro Pictures, New York, New York.

“On the Sublime,” Rooseum Center for Contemporary Art, Malmö, Sweden. Exh. cat.

“Making It Real,” Independent Curator’s International, New York. Travel to: Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; Reykjavik Municipal Art Museum, Reykjavik, Iceland; Portland Museum of Art, Portland, Maine; Bayly Art Museum, University of Virginia, Charlottesville, Virginia; Bakalar Gallery, Massachusetts College of Art, Boston, Massachusetts; Emerson Gallery, Hamilton College, Clinton, New York.

“The American Century: Art and Culture 1950-2000,” Whitney Museum of American Art, New York, New York. Exh. cat.

 

1998

“Out of Actions: Between Performance and the Object, 1949-1979,” Museum of Contemporary Art, Los Angeles, California. Travel to: MAK-Austrian Center for the Applied Arts, Vienna, Austria; Museu d’art Contemporani de Barcelona, Barcelona, Spain; Museum of Contemporary Art, Tokyo, Japan (1999). Exh. cat.

“Real Stories,” Marianne Boesky Gallery with Friedrich Petzel Gallery, New York, New York.

“Presumed Innocence,” Anderson Gallery, School of Fine Arts, Virginia Commonwealth University, Richmond, Virginia. Travel to: Capc Musée d’art contemporain de Bordeaux, Bordeaux, France (2000). Exh. cat.

“Wounds: Between Democracy and Redemption in Contemporary Art,” Moderna Museet, Stockholm, Sweden. Exh. cat.

“Figurative Sculpture,” Patrick Painter, Inc., Santa Monica, California.

“10 Years: Portikus Frankfurt,” P.S.1 Contemporary Art Center; Institute for Art and Urban Resources, Long Island City, New York.

“L.A. on Paper 1,” Galerie Krinzinger, Vienna, Austria.

“L.A. Times,” Palazzo Re Rebaudengo per l’Arte Contemporanea, Guarene, Italy.

“Plaisir Deplaisir,” Musée d’art contemporain, Bordeaux, France.

“Crossings,” Kunsthalle, Vienna, Austria. Exh. cat.

“Emotion: Junge britische und amerikanische Kunste aus der Sammlung Goetz,” Deichtorhallen, Hamburg, Germany. Exh. cat.

“The Natural World,” Vancouver Art Gallery, Vancouver, British Columbia.

“Works from a California Collection,” Dorothy Goldeen Art Advisory, Santa Monica, California.

“Voor het verdwinjt en daarna,” Stedelijk Museum voor Actuele Kunst, Gent, The Netherlands.

“The 18th Annual Benefit Art Auction of Los Angeles Contemporary Exhibitions,”

Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Freie Sicht aufs Mittlemeer; Jung Schweizer Kunst,” Kunsthaus Zurich, Switzerland; Kunsthalle Frankfurt, Frankfurt, Germany.

“Double Trouble: The Patchett Collection,” Museum of Contemporary Art San Diego, San Diego, California; Museo de Las Artes and Instituto Cultural Cabanas, Guadalajara, Mexico; Museo de Monterrey, Monterrey, Mexico (1999); Museo Universitario Contemporaneo de Arte, Mexico City, Mexico (1999); Auditorio de Galicia and Inglesia San Domingos de Bonaval, Santiago de Compostela, Spain (1999); Sala Amos Salvador, Logrono, Spain (2000). Exh. cat.

“Isn’t it too early for the eighties yet?” Rooseum Center for Contemporary Art, Malmö, Sweden.

“A.R.T. Press Portfolio,” Vedanta Gallery, Chicago, Illinois.

“50 Especes d’Espaces,” Centre Georges Pompidou, Paris; Musées de Marseilles, Marseilles, France. Exh. cat.

“American Playhouse: The Theatre of Self-Presentation,” The Power Plant, Toronto, Canada. Exh. cat.

 

1997

“The Age of Modernism: Art in the 20th Century,” Martin-Grobius-Bau, Berlin, Germany. Exh. cat.

“Sunshine & Noir,” Louisiana Museum of Modern Art, Humlebaek, Denmark; Kunstmuseum Wolfsburg, Wolfsburg, Germany; Castello di Rivoli, Museo d’Arte Contemporanea, Turin, Italy; UCLA at The Armand Hammer Museum of Art and Cultural Center, Los Angeles, California (1998). Exh. cat.

“Scene of the Crime,” UCLA at The Armand Hammer Museum of Art and Cultural Center, Los Angeles, California. Exh. cat.

“Exposition Images of Nature,” Association l’enfrance de l’art, France.

“:Engel:Engel,” Kunsthalle, Vienna, Austria; Galerie Rudolfinum, Prague, Czech Republic. Exh. cat.

“Fort! Da! Cooperations,” Villa Merkel Galerie der Stadt Esslingen, Stuttgart, Germany. Exh. cat.

“Dan Graham, Rodney Graham, Mike Kelley, Edward Ruscha: Patrick Painter Editions,” S.L. Simpson Gallery, Toronto, Canada.

“Home Sweet Home,” Deichtorhallen, Hamburg, Germany. Exh. cat.

“Networking: Art By Post and Fax,” Hayward Gallery, London, England. Exh. cat.

“Educational Complex,” Generali Foundation, Vienna, Austria. Exh. cat.

“Mike Kelley, Carroll Dunham, Laurie Simmons, John Miller,” Metro Pictures, New York, New York.

“Gothic,” Institute of Contemporary Art, Boston, Massachusetts. Exh. cat.

“Laying Low: Postminimalist/Scatter Art,” Kunstnernes Hus, Oslo, Norway. Exh. cat.

“Now on View,” Metro Pictures, New York, New York.

“Making It Real, ” The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut; The Reykjavik Municipal Art Museum, Iceland; Portland Museum of Art, Portland, Maine; Bayly Art Museum, University of Virginia, Charlottesville, Virginia. Exh. cat.

“Groei in de Collectie Peter Stuyvesant,” Rothmans International European Headquarters, Amsterdam, The Netherlands. Exh. cat.

“Display: International Exhibition of Painting” (with Paul McCarthy), The Charlottenborg Exhibition Hall, Copenhagen, Denmark. Exh. cat.

“American Stories: Amidst Displacement and Transformation,” Setagaya Art Museum, Tokyo, Japan. Exh. cat.

“Die Saamlung Scharpff in der Hamburger Kunsthalle,” Galerie Der Gegenwart, Kunsthalle, Hamburg, Germany.

“Im Reich der Phantome: Fotografie des Unsichtbaren” (with David Askevold), Museum Abteiberg, Monchengladbach, Germany; Kunsthalle Krems, Krems, Austria; Fotomuseum Winterthur, Zurich, Switzerland. Exh. cat.

“Documenta X” (with Tony Oursler), Kassel, Germany. Exh. cat.

“Love Hotel,” National Gallery of Australia, Canberra, Australia. Exh. brochure.

“Alpenblick,” Kunsthalle, Vienna, Austria.

“The End is Here!: Visionary Artists at the End of Time,” Bookbeat Gallery, Oak Park, Michigan.

“Patrick Painter Editions,” Lehmann Maupin Gallery, New York, New York.

“Bring Your Own Walkman,” W139, Amsterdam, The Netherlands.

“KünstlerInnen 50 Positions of International Contemporary Art, Video–Portraits and Works,” Kunsthaus Bregenz, Vienna, Austria. Exh. cat.

“Chambris d’Amis,” Ghent Museum of Contemporary Art, Ghent, Belgium. Exh. cat.

“One of You, Among With You: Homenaje a Martin Kippenberger,” Galeria Juana de Aizpuru, Madrid, Spain.

“Someone Else with my Fingerprints,” David Zwirner Gallery, New York; Galerie Hauser & Wirth, Zurich, Switzerland; August Sander Archive/SK Stiftung Kultur,

Cologne, Germany; Kunstverein, Munich, Germany; Kunsthaus, Hamburg, Germany. Exh. cat.

“Art at the End of the 20th Century,” Whitney Museum of American Art, New York. Exh. cat.

“In De Collectie Peter Stuyvesant,” Peter Stuyvesant Foundation, Amsterdam, The Netherlands. Exh. cat.

 

1996

“Thinking Print: Books To Billboards, 1980-95,” Museum of Modern Art, New York, New York. Exh. cat.

“Black and Blue,” Susanne Hilberry Gallery, Birmingham, Michigan.

“Shit,” Baron Boisante Gallery, New York, New York.

“L’informe: Le modernisme a rebours,” Centre Georges Pompidou, Paris, France. Exh. cat.

“Distemper: Dissonant Themes in the Art of the 1990s,” Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Exh. cat.

“Multiple Pleasure,” Tanya Bonakdar Gallery, New York, New York.

“Contrafigura,” Studio Guenzani, Milan, Italy.

“Art at Home: Ideal Standard Life,” Spiral Garden, Tokyo, Japan.

“Discreet Images,” Fifth Street Gallery, London, England.

“Re-Read,” Ac Project Room, New York, New York.

“Drawn From L.A,” Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena, California.

“Do it,” Hermann Gmeinerstrasse, Klagenfurt, Austria; Songlines, Paris, France; Kunsthalle Helsinki, Finland; Zerynthia, Rome, Italy; CCA Glasgow, Scotland; Forde Espace d’art Contemporain, Geneva, Switzerland; Reykjavik Municipal Museum, Reykjavik, Iceland; Institute of Modern Art, Brisbane, Australia; Bangkok University, Bangkok, Thailand; Uppsala Art Museum, Uppsala, Sweden; Institute of Modern Art, Queensland, New Zealand; Kunstverein Kreis Gutersloh, Gutersloh, Germany; Lawrence Wilson Art Gallery, Perth, Australia. Exh. booklet.

“Size Matters,” Special Exhibitions, West Hollywood, California.

“A/drift: Scenes from the Penetrable Culture,” Center For Curatorial Studies Museum, Bard College, Annandale-on-Hudson, New York.

“Playpen and Corpus Delirium,” Kunsthalle, Zurich, Switzerland. Exh. cat.

“Blind Spot Photography: The First Four Years,” Paolo Baldacci Gallery, New York, New York.

“Flore et faune de la nature avant toute chose,” L’Espace Riquet, Beziers, France.

“The Importance of Toys: Childhood Memories, Adult Metaphors,” Monique Knowlton Gallery, New York, New York.

“Destroy All Monsters,” The Deep, Tokyo, Japan.

“It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art,” Contemporary Arts Center, Cincinnati, Ohio; Lakeview Museum of Arts and Sciences, Peoria, Illinois; Virginia Beach Center for the Arts, Virginia Beach, Virginia; Tacoma Art Museum, Tacoma, Washington; Jacksonville Museum of Contemporary Art, Jacksonville, Florida; Dean Lesher Regional Center for the Arts Bedford Gallery, Walnut Creek, California; Phoenix Art Museum, Pheonix, Arizona; Lowe Art Museum, Coral Gables, Florida; Milwaukee Art Museum, Milwaukee, Wisconsin; Arkansas Art Center, Little Rock, Arkansas. Exh. cat.

“Family Values: American Art in the Eighties and Nineties,” Galerie der Gegenwart, Kunsthalle, Hamburg, Germany. Exh. cat.

“Feminimasculin: Le sexe de l’art,” Centre Georges Pompidou, Paris, France. Exh. cat.

“Limited Edition Artists Books,” Brooke Alexander Gallery, New York, New York.

“L’art au corps,” Musée de Marseilles, Marseilles, France. Exh. cat.

“Fourteenth World Wide Video Festival 1996,” Stichting World Wide Video Centre, The Hague, The Netherlands. Exh. cat.

 

1995

“Neotoma,” Otis Gallery, Otis College of Art and Design, Los Angeles, California.

“Action/Performance and the Photograph,” Turner/Krull Galleries, Los Angeles, California. Exh. cat.

“Murder,” Bergamot Station Arts Center, Santa Monica, California. Exh. cat.

“Mike Kelley, Paul McCarthy, Bruce Nauman, Franz West,” David Zwirner Gallery, New York, New York.

“1995 Whitney Biennial Exhibition,” Whitney Museum of American Art, New York, New York. Exh. cat.

“Selections From the Robert A. Rowan Trust Collection,” Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena, California.

“Komix,” Brooks Alexander Editions, New York, New York.

“The Moderns,” Feature, New York, New York.

“The Big Night: In Honor of Colin Gardner,” The Bradbury Building, Los Angeles, California.

“Alternatives: 20 Years of Hallwalls Contemporary Arts Center, 1975-1995,” Hallwalls, Buffalo, New York.

“63 Artists’ Editions,” Peter Blum, New York, New York.

“Everything That’s Interesting Is New.” Museum of Modern Art, Copenhagen, Denmark; The Factory, Athens School of Fine Arts, Greece. Exh. cat.

“From L.A. With Love,” Galerie Praz-Delavallade, Paris, France.

“In a Different Light,” University Art Museum, University of California Berkeley, Berkeley, California.

“On Beauty,” Regina Gallery, Moscow, Russia. Exh. cat.

“Passions Privées,” Musée d’art moderne de la ville de Paris, Paris, France.

“Playtime: Artists and Toys,” Whitney Museum of American Art at Champion, Stamford, Connecticut. Exh. cat.

“XL,” Galerie Borgmann Capitain, Cologne, Germany.

“Zeichen & Wunder,” Kunsthaus, Zurich, Switzerland; Centro Galego de Arte Contemporanea, Galego, Spain. Exh. cat.

“ARS 95 Hesinki,” Museum of Contemporary Art, Helsinki, Finland.

Metro Pictures, New York, New York.

“Altered States: American Art in the 90s,” Forum for Contemporary Art, St. Louis, Missouri.

“Destroy All Monsters,” Bookbeat Gallery, Oak Park, Michigan.

“Abstract Photographs,” The Baltimore Museum of Art, Baltimore, Maryland.

“Is It Art?: Transgressions in Contemporary Art,” Virginia Beach Center for the Arts, Virginia Beach, Virginia; Contemporary Arts Center, Cincinnati, Ohio; The Katonah Museum of Art, Katonah, New York. Exh. cat.

Metro Pictures, New York, New York.

“Silent and Violent, Selected Artists’ Editions,” MAK Center for Art and Architecture, Los Angeles, California. Exh. cat.

“L’Immagine Riflessa,” Centro per l’Arte Contemporanea Luigi Pecci, Prato, Italy. Exh. cat.

“Signos y Milagros,” Centro Galego de Arte Contemporanea, Galego, Spain. Exh. cat.

 

1994

“Radical Scavenger(s): The Conceptual Vernacular in Recent American Art,” Museum of Contemporary Art, Chicago, Illinois. Exh. cat.

“Don’t Look Now,” Thread Waxing Space, New York, New York.

“[Cut]-Los Angeles—90′s Art Scene,” Kunstforeningen, Copenhagen, Denmark. Exh. cat.

“World Morality in High Art,” Kunsthalle, Basel, Switzerland.

“Drawing: Reaffirming the Media,” Gallery of Art, University of Missouri, Kansas City, Missouri. Exh. cat.

“Arrested Childhood,” Center of Contemporary Art, North Miami, Florida. Exh. cat.

“Zimmer in denen die Ziet nicht zahlt,” Museum fur Gegenwartskunst, Basel, Switzerland.

“Clouca Maxima,” Museum der Stadtentwasserung, Zurich, Switzerland, Exh. booklet.

“Modern Art/No Commodity,” Torch, Amsterdam, The Netherlands.

“Guys Who Sew,” University Art Museum, University of California Santa Barbara, Santa Barbara, California.

“Spielverderber,” Forum Stadpark, Graz, Austria.

“Transformers: The Art of Multiphrenia,” Bard Center for Curatorial Studies, Annandale-on-Hudson, New York. Exh. cat.

“Das Americas,” Isabella Prata Consultoria de Arte and Galeria Luisa Strina, Sao Paulo, Brazil. Exh. cat.

“It’s a Tough World Out There: Drawings by Mike Kelley, Joyce Pensato, and Raymond Pettibon,” Saint Louis Art Museum, St. Louis, Missouri.

“Hors limites: L’art et la vie,” Centre Georges Pompidou, Paris, France. Exh. cat.

“Oh Boy, It’s a Girl: Feminismen in der Kunst,” Kunstverein, Munich, Germany. Exh. cat.

“Dirty Data: Sammlung Schurmann,” Deichtorhallen, Hamburg, Germany. Exh. cat.

“Frauenkunst Mannerkunst,” Museum Fridericanum, Kassel, Germany.

“The Use of Pleasure,” Terrain, San Francisco, California. Exh. cat.

“Uber Leben,” Kunstverein, Bonn, Germany. Exh. cat.

“Art Basel,” Galerie Borgmann Capitain, Cologne, Germany.

“Act Up Art Box,” Josh Baer Gallery, New York, New York.

“(Tiny) Shoes,” New Langton Arts, San Francisco, California.

“Larry Clark, Robert Gober, Mike Kelley, Jeff Koons, Cady Noland, Richard Prince, Cindy Sherman, Christopher Wool,” Luhring Augustine Hezler, Los Anglees.

“The Ossuary,” Luhring Augustine Gallery, New York, New York.

“Sculpture: Georg Herold, Mike Kelley, Jon Kessler, Martin Kippenberger, Charles Long, Paul McCarthy, Reinhard Mucha, Cady Noland,” Luhring Augustine Gallery, New York, New York.

 

1993

“Oh! Cet Echo!” Centre Culturel Suisse, Paris, France. Exh. cat.

“1993 Whitney Biennial Exhibition,” Whitney Museum of American Art, New York, New York. Exh. cat.

“Don’t Ask, Don’t Tell, Don’t Pursue: Sexual Identity in Contemporary Printmaking,” Lukacs Gallery, Fairfield, Connecticut.

“The Language of Art,” Kunsthalle, Vienna Austria; Kunstverein, Frankfurt,

Germany; Kunstlerhaus Bethanien, Berlin, Germany.

“The Elegant, Irreverent and Obsessive: Drawing in Southern California,” Visual Arts Center, California State University, Fullerton, Fullerton, California.

“Dolls in Contemporary Art: A Metaphor of Personal Identity,” Marquette University, Milwaukee, Wisconsin. Exh. cat.

“Oeuvres sur papier,” Galerie Ghislaine Hussenot, Paris, France.

Studio Guenzani, Milan, Italy.

“Zeitsprunge,” Wilhelm-Hack-Museum, Berlin, Germany.

“Sculpture and Multiples,” Brooke Alexander Editions, New York, New York.

“Kustom Kulture,” Laguna Art Museum, Laguna Beach, California; Maryland Institute College of Art, Baltimore, Maryland; Center of Contemporary Art, Seattle, Washington. Exh. cat.

“In Search of Self,” Duke University Museum of Art, Durham, North Carolina.

“Abject Art: Repulsion and Desire in American Art,” Whitney Museum of American Art, New York, New York. Exh. cat.

“Mr. Serling’s Neighborhood,” Christopher Grimes Gallery, Los Angeles, California.

“Group Exhibition,” Galerie Max Hetzler, Cologne, Germany; Kunstlerhaus Bethanien, Berlin, Germany.

“American Art of this Century,” Martin-Gropius-Bau, Berlin, Germany; Royal Academy of Art, London, England.

“Tables: Selections from the Lannan Foundation,” Lannan Foundation, Los Angeles, California.

“Sampler,” David Zwirner Gallery, New York, New York.

“Trancesex,” Amanda Oberling, Los Angeles, California.

“Domain,” Centre d’art, le Domain de Kerguehennec, Bignan, France. Exh. cat.

“In Search of Self,” University Museum of Art, Durham, North Carolina. Exh. cat.

“The Return of The Cadavre Exquis,” The Drawing Center, New York, New York. Exh. cat.

“Sonsbeek 93,” Sonsbeek, Arnhem, The Netherlands. Exh. cat.

 

1992

“Just Pathetic,” American Fine Arts, New York, New York.

“Knowledge: Aspects of Conceptual Art,” University Art Museum, University of California, Santa Barbara; Santa Monica Museum of Art, Santa Monica, California; North Carolina Museum of Art, Raleigh, North Carolina. Exh. cat.

“Helter Skelter: L.A. Art in the 1990s,” Museum of Contemporary Art, Los Angeles, California. Exh. cat.

“Doubletake: Collective Memory and Current Art,” Hayward Gallery, London, England; Kunsthalle, Vienna, Austria. Exh. cat.

“Allegories of Modernism: Contemporary Drawings,” The Museum of Modern Art, New York, New York. Exh. cat.

“Post Human,” Musée d’art contemporain, Pully/Lausanne, Switzerland; Castello di Rivoli, Turin, Italy; Deste Foundation, Athens, Greece; Edelman, Lausanne, Switzerland; Deichtorhallen, Hamburg, Germany; Israel Museum, Jerusalem, Israel. Exh. cat.

“Mostra da Cravura Cidade de Curitiba,” Museu da Gravura, Curitiba, Brazil.

“Songs of Innocence/Songs of Experience,” Whitney Museum of American Art at Equitable Center, New York, New York.

“Recent Narrative Sculpture,” Milwaukee Art Museum, Milwaukee, Wisconsin.

“Documenta IX,” Kassel, Germany. Exh. cat.

“Robert Gober, On Kawara, Mike Kelley, Martin Kippenberger, Jeff Koons, Albert Oehlen, Julian Schnabel, Cindy Sherman, Thomas Struth, Philip

Taaffe, Christopher Wool,” Galerie Max Hetzler, Cologne, Germany. Exh. cat.

“All Words Suck,” Anders Tornberg Gallery, Lund, Sweden.

“Ars Pro Domo: Zeitgenossische Kunst aus Kolner Privathesitz,” Museum Ludwig, Cologne, Germany. Exh. cat.

“Dirty Data: Sammlung Shurmann,” Forum fur Internationale Kunst, Aachen, Germany. Exh. cat.

“Re: Framing Cartoons,” Wexner Center for the Arts, Ohio State University, Columbus, Ohio. Exh. cat.

“Desordres: Nan Goldin, Mike Kelley, Kiki Smith, Jana Sterbak, Tunga,” Galerie nationale du Jeu de Paume, Paris, France. Exh. cat.

“Transgressions in the White Cube. Territorial Mappings,” USDAN Gallery, Bennington College, Bennington,Vermont.

“New Deal,” Bruno Brunnet Fine Arts, Berlin, Germany.

“Recent Publications and Acquisitions,” Brooke Alexander Editions, New York, New York.

“Not For Sale,” Tel Aviv Museum of Art, Tel Aviv, Israel.

“Privacy,” Spazio Opos, Milan, Italy.

Metro Pictures, New York, New York.

“LAX” (with Paul McCarthy), Galerie Krinzinger, Vienna, Austria. Exh. cat.

“Expanded Art, II,” Wiener Fest Wochen, Vienna, Austria. Exh. cat.

 

1991

“Telekinesis,” Mincher/Wilcox Gallery, San Francisco, California.

“Idiosyncrasies in the Expanded Field,” Postmasters, New York, New York.

“El jardin salvaje” (The Savage Garden), Fundacion Caja de Pensiones, Madrid, Spain. Exh. cat.

“California Artists: William T. Wiley, Mike Kelley, Brad Dunning,” Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Exh. booklet.

“Carroll Dunham, Mike Kelley, Cindy Sherman,” Metro Pictures, New York, New York.

“Enclosure,” Los Angeles Municipal Art Gallery, Los Angeles, California.

“FluxAttitudes,” Hallwalls, Buffalo, New York.

“Something Pithier and More Psychological,” Simon Watson Gallery, New York, New York.

“Poets/Painters Collaborations,” Brooke Alexander Editions, New York, New York.

“1991 Whitney Biennial Exhibition,” Whitney Museum of American Art, New York, New York. Exh. cat.

“Metropolis: International Art Exhibition, Berlin 1991,” Martin-Gropius Bau, Berlin, Germany. Exh. cat.

“Individual Realities,” Sezon Museum of Art, Tokyo, Japan; Tsukashin Hall, Osaka, Japan. Exh. cat.

“Someone or Somebody,” Meyers/Bloom Gallery, Santa Monica, California.

“The Kelly Family,” Esther Schipper Gallery, Cologne, Germany.

“Body/Language,” Lannan Foundation, Los Angeles, California.

The Lick of the Eye,” Shoshana Wayne Gallery, Santa Monica, California.

“Presenting Rearwards,” Rosamund Felsen Gallery, Los Angeles, California. Exh. cat.

“Louder,” Gallery 400, University of Illinois at Chicago, Chicago, Illinois.

“The Carnegie International 1991,” Carnegie Museum of Art, Pittsburgh, Pennsylvania. Exh. cat.

“The Devil on the Stairs: Looking Back on the Eighties,” Institute of Contemporary Art, Philadelphia, Pennsylvania; Newport Harbor Art Museum, Newport Beach, California. Exh. cat.

“Objects for the Ideal Home: The Legacy of Pop Art,” Serpentine Gallery, London, England.

“My History,” Real Artways, Hartford, Connecticut.

“An Exhibition to Benefit Act-Up,” Paula Cooper Gallery, New York, New York.

“Just What Is It That Makes Today’s Homes So Different, So Appealing?” The Hyde Collection, Glen Falls, New York. Exh. cat.

“Merlin Carpenter, Georg Herold, Mike Kelley, Jon Kessler, Martin Kippenberger, Michael Krebber, Cady Noland,” Luhring Augustine Gallery, New York, New York.

“Drawings Acquisitions 1980-91,” Whitney Museum of American Art at Philip Morris, New York, New York.

“Residue Politics,” Beaver College Art Gallery, Glenside, Pennsylvania.

“Lieux communs, figures singulieres,” Musée d’art moderne de la ville de Paris, Paris, France. Exh. cat.

“Anna Novanta,” Galleria Comunale d’Arte Moderna, Bologna, Italy.

 

1990

“Past & Present—Selected Works by Gallery Artists,” Rosamund Felsen Gallery, Los Angeles, California.

“Stained Sheets/ Holy Shroud,” Krygier/Landau Contemporary Art, Santa Monica, California. Exh. cat.

“The Thing Itself,” Feature, New York, New York.

“Prints and Multiples.” Luhring Augustine Hetzler Gallery, Santa Monica, California.

“Drawings: Werner Buttner, Mike Kelley, Martin Kippenberger, Robert Longo, John Miller,” Metro Pictures, New York, New York.

“Jessica Diamond, Mike Kelley,” Interim Art, London, England.

“Editionen,” Galerie Gisela Capitain, Cologne, Germany.

“Mike Kelley, Tim Rollins + K.O.S., Meyer Vaisman,” Jay Gorney Modern Art, New York, New York.

“Re: Framing Cartoons,” Loughelton Gallery, New York, New York. Exh. cat.

“Je viens de chez le charcuterie,” Galerie Ghislaine Hussenot, Paris, France.

“Word as Image,” Milwaukee Art Museum, Milwaukee, Wisconsin; Oklahoma City Art Museum, Oklahoma City, Oklahoma; Contemporary Arts Museum, Houston, Texas. Exh. cat.

“The Children’s Aids Project: A Benefit Exhibition,” Daniel Weinberg Gallery, Los Angeles, California.

“Le desenchantement du monde,” Villa Arson, Nice, France. Exh. cat.

“Figuring the Body,” Museum of Fine Arts, Boston, Massachusetts.

“Viewpoints towards the 90′s: Three Artists from Metro Pictures, Part II,” Seibu Contemporary Art Gallery, Tokyo, Japan.

“Sculpture,” Daniel Weinberg Gallery, Los Angeles, California.

“The Kitchen Art Benefit,” Leo Castelli / Castelli Graphics; Curt Marcus Gallery, New York, New York.

“Semi-Objects,” John Good Gallery, New York, New York.

“Just Pathetic,” Rosamund Felsen Gallery, Los Angeles, California. Exh. cat.

“Heart in Mouth,” Fahey/Klein Gallery, Los Angeles, California. Exh. booklet.

“Lotte or the Transformation of the Object,” Kunstverein, Graz, Austria; Akademia der Bildender Kunst, Vienna, Austria. Exh. cat.

“Total Metal,” Simon Watson Gallery, New York, New York.

“Spirit of Our Time,” Contemporary Arts Forum, Santa Barbara, California, Exh. cat.

“Stuttering,” Stux Gallery, New York, New York.

 

1989

“A Forest of Signs: Art in the Crisis of Representation,” Museum of Contemporary Art, Los Angeles, California. Exh. cat.

“1989 Whitney Biennial Exhibition,” Whitney Museum of American Art, New York, New York. Exh. cat.

“What is Contemporary Art?” Rooseum Center for Contemporary Art , Malmö, Sweden. Exh. cat.

“Prospect 89: Eine Internationale Ausstellung aktueller Kunst,” Kunstverein, Frankfurt, Germany. Exh. cat.

“A Decade of American Drawing 1980-1989,” Daniel Weinberg Gallery, Los Angeles, California.

“Mike Kelley, Judy Pfaff, Keith Sonnier,” Susanne Hilberry Gallery, Birmingham, Michigan.

“Jennifer Bolande, Tim Ebner, Mike Kelley, Ken Lum,” Robbin Lockett Gallery, Chicago, Illinois.

“They See God,” Pat Hearn Gallery, New York, New York; Metro Pictures, New York, New York.

“The Image of American Pop Culture Today III,” La Foret Art Museum, Tokyo, Japan.

“Filling in the Gap,” Feigen, Chicago, Illinois. Exh. brochure.

“Kunsterlische Fotografie der 70er and 80er Jahre,” Galerie Schurr, Stuttgart, Germany.

“Erotophobia,” Simon Watson Gallery, New York, New York.

“No Stomach,” Installation, San Diego, California.

“Jessica Diamond, Allen Ruppersberg, Mike Kelley,” Christine Burgin Gallery, New York, New York.

 

1988

“Striking Distance,” Museum of Contemporary Art, Los Angeles, California; Triton Museum of Art, Santa Clara, California; Fresno Arts Center and Museum, Fresno, California; University Art Gallery, Sonoma State University, Rohnert Park, California.

“Awards in the Visual Arts 7,” Los Angeles County Museum of Art, Los Angeles, California; Carnegie-Mellon Art Gallery, Pittsburgh, Pennsylvania; Virginia Museum of Fine Arts, Richmond, Virginia. Exh. cat.

“Recent Drawings: George Condo, Mike Kelley, Ellen Phelan, Janis Provisor,” Whitney Museum of American Art, New York, New York.

“Monster with Three Heads,” Don Soker Contemporary Art, San Francisco, California.

“The 43rd Biennale of Venice, Aperto ’88,” Venice, Italy. Exh. cat.

“Lost and Found in California: Four Decades of Assemblage Art. The Second Generation: The Narrative 1957-1987,” Shoshana Wayne Gallery, Los Angeles, California; James Corcoran Gallery; the Pence Gallery, Santa Monica, California. Exh. cat.

“Graz 1988,” Kunstverein, Graz, Austria. Exh. cat.

“The BiNational: American Art at the Late Eighties/German Art in the Late Eighties,” Museum of Fine Arts and The Institute of Contemporary Art, Boston, Massachusetts; Stadtische Kunsthalle, Kunstsammlung Nordrhein-Westfalen, Kunstverein fur die Rheinlande und Westfalen, Dusseldorf, Germany; Kunsthalle, Bremen, Germany; Wurttembergischer Kunstverein, Stuttgart, Germany. Exh. cat.

“New Works on Paper,” Rosamund Felsen Gallery, Los Angeles, California.

“Art Against Aids,” Pacific Design Center, Los Angeles, California.

“Rene Daniels, Mike Kelley, Robert Longo, Cindy Sherman,” Metro Pictures, New York, New York.

“Democracy: Cultural Participation,” DIA Art Foundation, New York, New York.

“L.A. Hot and Cool: The Eighties,” List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Massachusetts. Exh. cat.

 

1987

“Avant-Garde in the Eighties,” Los Angeles County Museum of Art, Los Angeles, California. Exh. cat.

“Toyama Now ’87,” Museum of Modern Art, Toyama, Japan. Exh. cat.

“1987 Phoenix Biennial,” Phoenix Art Museum, Pheonix, Arizona. Exh. booklet.

“Cal Arts: Skeptical Belief(s),” The Renaissance Society at the University of Chicago, Chicago, Illinois; Newport Harbor Art Museum, Newport Beach, California. Exh. cat.

“Contemporary Diptychs: Divided Visions,” Whitney Museum of American Art at Fairfield County, Stamford, Connecticut. Exh. brochure.

“Art Against Aids,” Metro Pictures, New York, New York.

“Head Sex,” Feature, Chicago, Illinois.

“Nothing Sacred,” Margo Leavin Gallery, Los Angeles, California.

“L.A.C.E. Annuale, ” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Schema,” Baskerville + Watson Gallery, New York, New York.

Saxon-Lee Gallery, Los Angeles, California.

 

1986

“Baaa Baaa Ba’bel,” The Alexandria Hotel, Los Angeles, California.

“Spectrum: Natural Settings,” The Corcoran Gallery of Art, Washington, D.C. Exh. booklet.

“Poetic Resemblance,” Hallwalls, Buffalo, New York; Loughelton Gallery, New York. Exh. cat.

“Individuals: A Selected History of Contemporary Art, 1945-1986,” Museum of Contemporary Art, Los Angeles, California. Exh. cat.

“Meanwhile, Back at the Ranch….,” Kuhlenschmidt / Simon Gallery, Los Angeles, California.

“A New Abstraction,” New City Gallery, Venice, California.

Metro Pictures, New York.

“Headhunters,” Los Angeles Contemporary Exhibitions, Los Angeles, California. Exh. brochure.

 

1985

“Art in the Anchorage,” The Brooklyn Bridge Anchorage, New York, New York.

“B & W,” Los Angeles Institute of Contemporary Art, Los Angeles, California.

Metro Pictures, New York, New York.

“Currents—7: Words in Action,” Milwaukee Art Museum, Milwaukee Wisconsin. Exh. cat.

“1985 Whitney Biennial Exhibition,” Whitney Museum of American Art, New York, New York. Exh. cat.

“Best of the West,” Zero One Gallery, Los Angeles, California.

“Funny Art,” Concord Gallery, New York, New York.

“Auto/Genetic/Photopsia,” Christminster Gallery, New York, New York.

 

1984

“The Fifth Biennale of Sydney—Private Symbol: Social Metaphor,” The Gallery of New South Wales, Sydney, Australia. Exh. cat.

“Contemporary Eccentrics,” Edge Gallery, Fullerton, California.

Rosamund Felsen Gallery, Los Angeles, California.

“The First Newport Biennial: Los Angeles Today,” Newport Harbor Art Museum, Newport Beach, California. Exh. cat.

Metro Pictures, New York, New York.

“Explorations 1983-84,” California Institute of the Arts, Valencia, California. Exh. booklet.

“Signal Approach,” The Funnel, Toronto, Ontario, Canada. Exh. booklet.

 

1983

“The First Show: Painting and Sculpture from Eight Collections 1940-1980,” Museum of Contemporary Art, Los Angeles, California. Exh. cat.

“Summer Show,” Rosamund Felsen Gallery, Los Angeles, California.

“Sunday in Fiji,” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Art on Paper,” Weatherspoon Gallery, University of North Carolina at Greensboro, Greensboro, North Carolina; Newport Harbor Art Museum, Newport Beach, California.

“Word Works,” Minneapolis College of Art and Design; Walker Art Center, Minneapolis, Minnesota.

Hallwalls, Buffalo, New York.

“Possible Acquisitions,” Newport Harbor Art Museum, Newport Beach, California.

 

1982

“5 From L.A.: Kiki Maclinnis, Michael Kelley, Mary Jones, Michael McMillen, Jeffrey Vallance,” Mandeville Art Gallery, University of California San Diego, La Jolla, California.

“Visiting Artist’s Exhibition: John M. Miller, Michael Kelley, JoAnn Verburg,” Minneapolis College of Art and Design, Minneapolis, Minnesota.

 

1981

“Exhibition: Tenth Anniversary,” California Institute of the Arts, Valencia, California. Exh. cat.

“Beware of the Dog: Work from Artists in the Cave Canem Book Project,” The Mudd Club, New York.

“Contemporary Drawings: In Search of an Image,” University Art Museum, University of California Santa Barbara, Santa Barbara, California. Exh. cat.

White Columns, New York, New York.

Newspace, Los Angeles, California.

Riko Mizuno Gallery, Los Angeles, California.

 

1980

“By-Products: Mike Kelley, Tony Oursler, Mitchell Syrop,” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Jim Casebere, Michael Glier, Mike Kelley, Kathryn Mish, Tom Sansone, and Others,” Annina Nosei Gallery, New York, New York.

 

1979

“Manifesto Show,” 5 Bleeker Street, New York, New York.

“Sound,” Los Angeles Institute of Contemporary Art, Los Angeles, California; P.S. 1 Contemporary Art Center, Institute for Art and Urban Resources, Long Island City, New York. Exh. cat.

 

PERFORMANCES, READINGS AND OTHER EVENTS

 

2010

“Mobile Homestead,” Museum of Contemporary Art, Detroit, Michigan. On the occasion of the maiden voyage of “Mobile Homestead,” sculpture christening, community spirit event, and opening remarks by John Sinclair and others.

 

2009

“Extracurricular Activity Projective Reconstruction #32, Plus,” PERFORMA 09, Judson Memorial Church, New York, New York.

“Close Radio #27.” On the occasion of a film program curated by Paul McCarthy. Film & Video Gallery, Whitney Museum, New York, New York.

Performance with Raymond Pettibon. SASSAS Benefit, Private residence, Los Angeles, California.

 

2008

Performance with Masaya Nakahara Hair Sylistics and Paul McCarthy. The Echo, Los Angeles, California.

“Close Radio #27.” Originally broadcast on KPFK between 1976 and 1979. Podcast made available in conjunction with the exhibition “Evidence of Movement,” Getty Reasearch Institute Galleries, Getty Center, Los Angeles, California.

Performance. “BLAST! 3, SASSTER BLASTER” benefit for the Society for the Activation of Social Space through Art and Sound (SASSAS). Performed at a private space, Brentwood, California.

 

2006

Light airplay of Day Is Done Soundtrack. WFMU 91.1 FM, Jersey City, New Jersey. Nov 2005-Feb 2006.

Reading with John Welchman. Museum of Contemporary Art, Los Angeles, California.

Lecture. Getty Institute for Research, Los Angeles, California.

Performance. Benefit for the Society for the Activation of Social Space through Art and Sound (SASSAS). Performed at a private space, Los Angeles, California.

 

2005

“Radio Daniele” (sound art projects radio program), Bologna, Italy; Kunsthalle Zurich, Zurich, Switzerland.

“Radiodays.” Curatorial Training Programme at De Appel, Amsterdam, The Netherlands. Sound works broadcast airing The Poetics, “Nothing from Nothing.”

Lecture. Walker Art Center, Minneapolis, Minnesota.

Performance. “Get Off the Grass & Blast 2” benefit for the Society for the Activation of Social Space through Art and Sound (SASSAS). Performed at a private space, Los Angeles, California.

 

2004

“Borderline Extra 254.” Hosted by Dirk Liese, Freies Radio Kassel. 6 Feb 2004. Selected Compound Annex titles.

“Mike Kelley Selects: ‘Sod & Sodie Sock (Vienna cut),’ ‘Bridge Visitor (Legend Trip)’ and ‘Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene)’.” New York Video Festival, Film Society of Lincoln Center, New York, New York.

Performance by Extended Organ (Mike Kelley, Paul McCarthy, Dave Muller). “Get Off the Grass & Blast” benefit for the Society for the Activation of Social Space through Art and Sound (SASSAS). Performed at a private space, Los Angeles, California.

Destroy All Monsters performance. “All Tomorrow’s Parties: The Nightmare Before Christmas,” Pontins, Camber Sands, East Sussex, United Kingdom. Curated by Jake and Dinos Chapman.

 

2002

Destroy All Monsters performance. “All Tomorrow’s Parties,” UCLA Royce Hall, Los Angeles, California. Curated by Sonic Youth.

 

2000

“A Haute Voix.” Espace Franquin, Angouleme, France. Theatre performance in conjunction with the exhibition “>Mike Kelley</(Franz West)?”

 

1998

“The Thin Monotonous Piping of an Accursed Flute.” Santa Monica Museum, Los Angeles, California. In conjunction with the exhibition “Beyond the Pink.” Sponsored by the Cortical Foundation.

“Mike Kelley, Paul McCarthy, Violent Onsen Geisha.” Secession, Vienna, Austria. Sound performance.

 

1996

“Sad and Sadie Sack USO Party.” P-House Gallery, Tokyo, Japan. Performance in collaboration with Paul McCarthy and Violent Onsen Geisha.

“Paul McCarthy and Mike Kelley.” Stratos Selskapslokale, Oslo/RockFestival, Norway. Music performance.

“Jean Beaudrillard with the Chance Band.” Whiskey Pete’s Casino and Hotel, Stateline, Nevada. Music performance.

 

1993

“100 Reasons—Spank O Rama.” The Lab, San Francisco, California. Performance in collaboration with Bob Flanagan and Sheree Rose.

 

1992

“Beat Of The Traps.” Wiener Fest Wochen, Expanded Art Festival, Vienna; Gindi Auditorium, Los Angeles, California. Exh. cat. Collaboration with Stephen Prina and Anita Pace.

 

1991

“Theory, Garbage, Stuffed Animals, Christ #2.” Beyond Baroque Literary/Arts Center, Venice, California.

 

1989

“Theory, Garbage, Stuffed Animals, Christ.” Beyond Baroque Literary/Arts Center, Venice, California.

“Pansy Metal/Clovered Hoof.” A dance presentation of silk scarf series in collaboration with Anita Pace. Performed at a private space, Los Angeles, California. Sponsored by Rosamund Felsen Gallery, Los Angeles.

 

1986

“The Peristaltic Airwaves.” KPFK, Los Angeles, California. Live radio performance. Co-produced by High Performance Magazine & KPFK radio station.

“Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile.” Artists Space, New York, New York.

 

1987

Reading. Lhasa Club, Hollywood, California. Benefit for Foundation For Art Resources, Los Angeles, California.

 

1985

“Bob Flanagan and Mike Kelley.” The Permanent Contemporary Gallery, Los Angeles, California. Reading.

“Get It in Writing: An Evening of Readings by Dennis Cooper, Mike Kelley, John Miller, Benjamin Weissman.” Artists Space, New York, New York.

“Monkey Island Part Two.” Los Angeles Municipal Art Gallery Theater, Los Angeles, California.

“Artificial Intelligence in the Arts, #1 Brainwork.” Los Angeles Municipal Art Gallery, Los Angeles, California; Steirischer Herbst, Graz, Austria. Symposium in conjunction with the exhibition “Los Angeles Summer/Styrian Autumn.”

 

1984

“The Sublime.” Museum of Contemporary Art, Los Angeles in association with California Institute of the Arts, Valencia, California. Part of the “Explorations” performance series.

“Godzilla on the Beach.” Beyond Baroque Literary/Arts Center, Venice, California. Performance in collaboration with Bruce and Norman Yonemoto.

Reading. Anti Club, Los Angeles, California.

 

1983

“Confusion: A Play in Seven Sets, Each Set More Spectacular and Elaborate Than the Last.” Pilot 1 Theater, Los Angeles, California.

“Monkey Island.” Beyond Baroque Literary/Arts Center, Venice, California.

“X-C.” Beyond Baroque Literary/Arts Center, Venice, California. Performance in collaboration with Tony Oursler.

“Ericka Beckman/Mike Kelley.” Hallwalls, Buffalo, New York. Reading and video presentation.

 

1982

“Confusion: A Play in Seven Sets, Each Set More Spectacular and Elaborate Than the Last.” Mandeville Art Gallery, University of California at San Diego, La Jolla, California; Film in the Cities, Minneapolis, Minnesota.

“The Artist in Television.” Telesatellite Conference, University of California, Los Angeles, Los Angeles, California. Live interactive performance with Michael Smith.

 

1981

“The Monitor and the Merrimac.” Hallwalls, Buffalo, New York.

“Meditation on a Can of Vernors.” performance at a private space. Sponsored by Los Angeles Contemporary Exhibitions, Los Angeles, California.

 

1980

“Three Valleys.” performance at a private space. Sponsored by Foundation for Art Resources, Los Angeles, California.

“The Parasite Lilly.” part of the performance festival “Public Spirit: Live Art L.A.,” Los Angeles Contemporary Exhibitions, Los Angeles. Presented in association with the Highland Art Agents; California Institute of the Arts, Valencia; University of California at San Diego, La Jolla; The Kitchen Center for Video, Music and Dance, New York; Slusser Gallery, University of Michigan, Ann Arbor, Michigan.

 

1979

“The Monitor and the Merrimac.” Foundation for Art Resources, Los Angeles, California. Performance in conjunction with a collaborative exhibition with David Askevold.

“The Poltergeist.” Los Angeles Institute of Contemporary Art, Los Angeles, California. Exh. cat. Performance in conjunction with the exhibition “Sound.”

 

1978

“Poetry in Motion.” Part of “An Evening of Performance, Audio Tape and Film.” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“Dream Lover.” C.L.O.S.E. Radio Art Series, KPFK, Los Angeles, California. Audio tape by The Poetics (Mike Kelley, Tony Oursler, Don Krieger).

“Indianana.” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“My Space.” La Jolla Museum of Contemporary Art, La Jolla, California.

“A Big Question.” Part of the performance series “Airwaves and Stars.” The Exploratorium, California State University, Los Angeles, California.

VIDEO SHOWS AND SCREENINGS

 

2010

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” Push and Pull Exhibition, MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, Vienna.

“The Crème Filled Palace, or It Melts in your Mind Not in Your Mouth,” Galerie 1m3, Luasanne, Switzerland.

“A Voyage of Growth and Discovery,” REDCAT Theater, Los Angeles, California.

 

2009

“Fresh Acconci” and “Heidi,” Universidad Distrital Facultad De Artes ASAB, Bogotá, Colombia.

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” Performance Screening Programme, BIOS, Athens, Greece.

“Fresh Acconci” (with Paul McCarthy), Performance Screening Programme, BIOS, Athens, Greece.

 

2008

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” 7 Dudley Cinema at SPONTO Gallery, Venice, California.

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” Pleasure Dome, Toronto, Ontario, Canada.

“One More, With Feeling,” Institute of Modern Art, Brisbane, Australia.

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” Time-Based Art Festival, Portland Institute of Contemporary Art, Portland, Oregon.

“Fresh Acconci” (with Paul McCarthy), The Power Plant Contemporary Art Gallery, Toronto, Canada. Part of the screening, “Am I Repeating Yourself?”

 

2007

“Fresh Acconci” (with Paul McCarthy), Daniel Hug Gallery, Los Angeles, California.

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” REDCAT Theater, Los Angeles, California.

 

2006

“Alex Bag, Mike Kelley, Richard Hoeck & John Miller,” Babylon Kino, Berlin, Germany.

“Vidéo et Aprés” series. Centre Pompidou, Cinéma 1, Paris, France. Mar 6 2006.

“Rose Hobart II,” Babylon Kino, Berlin, Germany. Organized by Galerie Christian Nagel.

“Day Is Done (Extracurricular Activity Projective Reconstructions #2-#32),” New York Underground Film Festival, New York, New York.

 

2004

New York Video Festival, New York, New York.

“DIA and EAI at DIA: Chelsea,” Dia: Chelsea Bookshop, New York, New York.

 

2001

“New Video at EAI: A One Day Exhibition,” Electronic Arts Intermix, New York, New York. In Conjunction with Chelsea Art Walk.

“Mike Kelley, New Video,” Dia Bookshop, New York, New York.

 

2000

“Videos by Mike Kelley,” Filmuseum, Munich, Germany.

 

1996

“Re-Read,” AC Project Room, New York, New York.

 

1995

“World Wide Video Festival,” The Hague, The Netherlands. Exh. cat.

 

1993

“Mike Kelley et Tony Oursler,” Centre d’Art Contemporain, Geneva, Switzerland.

 

1992

“Videos by and with Mike Kelley,” Institute of Contemporary Art, London, England; Galerie nationale du Jeu de Paume, Paris, France; Kunsthalle, Basel, Switzerland; Walcheturm, Zurich, Switzerland; Kunsthalle, Vienna, Austria.

“American Videos,” Stadelschule, Frankfurt, Germany. Sponsored by 7.0.7. and Portikus.

 

1991

“1991 Whitney Biennial Exhibition” (with Ericka Beckman), Whitney Museum of American Art, New York, New York.

“My Life and Media,” Broadway Cinema, Cologne, Germany.

 

1990

“New Works, First Runs” (with Ericka Beckman), The Kitchen, New York, New York.

 

1989

“An Evening with Ericka Beckman and Mike Kelley,” Museum of Contemporary Art, Los Angeles, California.

“Mike Kelley—Post Renaissance Man,” Pacific Film Archive, University Art Museum, University of California, Berkeley.

 

1987

“Kappa” (with Bruce and Norman Yonemoto), Saxon-Lee Gallery, Los Angeles, California.

“1987 Biennial Exhibition” (with Bruce and Norman Yonemoto), Whitney Museum of American Art, New York, New York.

 

1986

“Kappa” (with Bruce and Norman Yonemoto), Baskerville + Watson Gallery, New York, New York.

“The Fairy Tale: Politics, Desire, and Everyday Life” (with Bruce and Norman Yonemoto), Artists Space, New York, New York.

 

1985

“Signal Approach,” The Funnel, Toronto, Ontario, Canada. Exh. booklet.

 

1984

“Performance On/And Video,” Hallwalls, Buffalo, New York.

“Video Pool,” Winnipeg, Manitoba, Canada.

 

1983

“Head Hunters,” Los Angeles Contemporary Exhibitions, Los Angeles, California.

“WordWorks,” Minneapolis College of Art and Design and Walker Art Center, Minneapolis, Minnesota.

CURATORIAL PROJECTS

2009

“A Fantastic World Superimposed on Reality: A Select History of Experimental Music,” Gramercy Theater, New York, New York. Two-day music festival with panel discussion, “Not For Sale: Noise Panel.” Organized and co-curated with Mark Beasley. Produced and presented by Performa.

 

2005

“James Hayward,” CUE Art Foundation, New York, New York.

“Street Credibility,” Scottsdale Museum of Contemporary Art, Scottsdale, Arizona.

 

2004

“Mike Kelley’s Film Festival: über Das Unheimliche,” Film Casino, Vienna, Austria. In conjunction with the exhibition “The Uncanny.”

“Street Credibility,” Museum of Contemporary Art, Los Angeles, California.

“Mike Kelley Curates,” Detroit Artists Market, Detroit, Michigan.

 

1999

“Unisex Love Nest,” Palais Attems, Graz, Austria. Presented in conjunction with “Re-Make/Re-Model,” a series of events produced for Steirischer Herbst, Graz, Austria.

“The Revolution Will Not Be Televised,” Track 16 Gallery, Los Angeles, California. Sponsored by the Center for the Study of Political Graphics.

 

1998

“Visitors’ Gallery,” Museum of Contemporary Art, Los Angeles, California. Co-curated with Paul McCarthy and sponsored by the Education Department as a series of events concurrent with the exhibition “Out of Actions: Between Performance and the Object 1949-1979.”

 

1993

“The Uncanny,” Gementeem Museum, Arnhem, The Netherlands. In conjunction with the exhibition “Sonsbeek 93.”

 

1986

“Hear Me Roar,” Los Angeles Contemporary Art Exhibitions (LACE), Los Angeles, California. Performance series.

“Social Distortion,” Los Angeles Contemporary Art Exhibitions (LACE), Los Angeles, California. Exhibition of Jim Shaw, Raymond Pettibon, Georgnne Dean/Greg Metz, Robert Williams, and Tom of Finland.

 

LECTURES, SYMPOSIA, SEMINARS WITH THE ARTIST

 

2007

Discussion and screening with Jim Shaw. “Conversations with Artists” series. Los Angeles County Museum of Art, Bing Theater, Los Angeles, California, November 18, 2007. On the occasion of the exhibition “Dalí: Painting and Film.”

“A Conversation with Mike Kelley.” The American Academy in Berlin, Berlin, Germany. Conversation with Michael Kimmelman.

 

2006

Reading from MIT publications with John C. Welchman. Museum of Contemporary Art, Los Angeles, California.

“Works In Progress.” Getty Institute for Research, Los Angeles, California. Lecture with respondent, Brandon Joseph.

 

2005

Discussion with John C. Welchman. Walker Art Center, Minneapolis, Minnesota.

 

2004

Discussion with Jerry Fialka on Foul Perfection and Minor Histories. “Artists and Authors in Dialogue” series, Rose Gallery, Bergamot Station, Santa Monica, California, September 29, 2004.

 

2003

“Whatever Happened to Installation Art?” San Francisco Museum of Modern Art, Phyllis Wattis Theater, San Francisco, California. Symposium on the occasion of the exhibition “Capp Street Project: 20th Anniversary Exhibition.” A conversation with Ralph Rugoff, director, CCAC Wattis Institute for Contemporary Arts.

 

2000

Lecture. Museum of Contemporary Art Los Angeles, California. On the occasion of the exhibition “Introjection: Tony Oursler Mid-Career Survey 1976-1999.”

 

1999

“The History of Glitter.” Stadtzmuseum, Graz, Austria. Panel discussion in conjunction with “Re-Make/Re-Model” a series of events produced for Steirischer Herbst, 1999.

“Mike Kelley in discussion with Bruce Yonemoto.” Japanese American National Museum, Los Angeles, California. On the occasion of the exhibition “Bruce and Norman Yonemoto: Memory, Matter, and Modern Romance.”

 

1997

“Art in the Center.” MAK Center For Art and Architecture, Los Angeles, California. An evening of discussion with Mike Davis, Mike Kelley, Jeff Wall, Catherine David, Jean-Francois Chevrier.

“Prog/Prole.” Documenta X, Kassel, Germany. Part of the “100 Days” lecture series. Collaborative lecture with Diedrich Diedrichsen.

 

1996

“Conceptualism: The Origins and Historiography.” Museum of Contemporary Art, Los Angeles, California. Symposium with Eleanor Antin, David Askevold, John Baldessari, Robert Barry, Ann Goldstein and Joan Jonas, organized by Alexis Hall, Michelle Alperin and Mike Kelley on the occasion of the exhibition “Reconsidering the Object of Art. 1965-1975.”

“Mike Kelley presents John Todd and His Songs by David Askevold.” Museum of Contemporary Art, Los Angeles, California.

 

1995

Lecture. Detroit Institute of Arts, Oak Park, Michigan.

 

1993

“The Aesthetics of Ufology.” Los Angeles County Museum of Art, Los Angeles, California.

 

1992

“Impurities.” Galerie Krinzinger at Akstaal de Hochschule fur Angewandte Kunst, Vienna, Austria. Symposium with Paul McCarthy, Mike Kelley, Jim Shaw, Benjamin Weissman, Raymond Pettibon, moderated by Ralph Rugoff on the occasion of “LAX” organized by 1986.

“Seminars With Artists.” Whitney Museum of American Art, New York, New York.

 

1985

“Teaching Non-Traditional Mediums in an Academic Institution.” Symposium with Eleanor Antin, John Baldessari, Nancy Buchanan, Laurie Beth Clark, Jim Davis, Terry Fox, Howard Fried, Nancy Goldring, George Hermes, Bobby Jones, Mike Kelley, Tom Maroni, Paul McCarthy, Barbara Smith, Jeffrey Vallance. Organized by Chris Burden and the College Art Association.

WRITINGS BY THE ARTIST

“The Runaway Wheel.” Journal: Los Angeles Institute of Contemporary Art (Mar. 1979).

“The Parasite Lily.” High Performance 11-12 (Fall-Winter 1980). Artist’s Chronicle.

“The Poltergeist.” Journal: Los Angeles Institute of Contemporary Art (Sept. 1980).

“Monkey Island.” Lightworks (Feb. 1981).

“The Monitor and the Merrimac.” High Performance 14 (Summer 1981). Artists’ Chronicle.

“Meditation on a Can of Vernors.” High Performance 17-18 (Spring-Summer 1982). Artists’ Chronicle.

“Monkey Island.” Cave Canem Stories and Pictures. New York: Cave Canuem Books, 1982: 122-148.

“Slow Boat to Lesbos.” Barney 4 (Spring 1984): 20-21.

“Ajax.” Journal: Los Angeles Institute of Contemporary Art (Spring 1984): 28-31.

“Urban Gothic.” Spectacle 3 (1985).

“Excerpts from Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile.” Journal, Los Angeles Institute of Contemporary Art (Fall 1985).

“Social Distortion.” Los Angeles Contemporary Art Exhibitions (LACE) Newsletter, 1.2 (June/July 1986).

“Hear Me Roar.” Los Angeles Contemporary Art Exhibitions (LACE) Newsletter, 1.4 (Oct. 1986).

“Excerpts from Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile.” File 27 (Spring 1987).

“Three Projects: Statement.” WhiteWalls 20 (Fall 1988).

“Foul Perfection: Thoughts on Caricature.” Artforum 27 (Jan. 1989): 92-99. Reprinted in Crime and Ornament. Ed. Bernie Miller and Melony Ward. Toronto, Canada: YYZ Books, 2002. 116-133.

“Mekanik Destruktiw Kommandoh: Survival Research Laboratories and Popular Spectacle.” Parkett 21 (1989).

“Theory, Garbage, Stuffed Animals, Christ (Dinner Conversation Overheard at a Romantic French Restaurant).” Forehead 2 (1989): 12-21. Reprinted in Mike Kelley, Peter Fischli, David Weiss. Exh. cat. Ingvild Goetz and Rainald Schumacher, eds. Munich: Sammlung Goetz, 2000.; Mike Kelley. Exh cat. Karsten Lockemann and Stephan Urbaschek, eds. Munich: Ingvild Goetz, 2008.

“Thift Store Paintings.” Art Issues 12 (Summer 1990): 29.

“Sonic Youth’s Flashy Gordon.” Interview 34 (1991). Mike Kelley interviews Kim Gordon.

“Forget M/M, K/T is the Trip.” Fama & Fortune Bulletin 8 (Nov. 1991). Mike Kelley interviews Kim Gordon.

“In the Image of Man.” Carnegie International Volume 1 (New York: Rizzoli and Pittsburgh: The Carnegie Museum of Art, 1991): 94. Excerpt reprinted in Documents sur l’art (Autumn 1997): 136-37.

“Ahh. . .Youth!” 21st Century (Winter 1991-1992): 4-11.

“Larry Clark. In Youth Is Pleasure.” Flash Art (May-June 1992): 82-86. Reprinted in Kiss the Past Hello. Exh. cat. Larry Clark. New York: Luhrung Augustine, 2010. 15-19.

“Death and Transfiguration: A Letter From America.” Paul Thek. Exh. cat. Turin: Castello di Rivara. 15-20. Reprinted in Texte zur Kunst (Dec. 1992): 43-49; Paul Thek: Artist’s Artist. Exh. cat. Eds. Harald Falkenberg and Peter Weibel. Immenstadt: Eberl Graphische Betriebe, 2009; Une Anthologie de la revue Texte zur Kunst de 1990 à 1998. Eds. Catherine Chevalier and Andreas Fohr. Dijon: Les Presses du Réel, 2010.

“Phobic.” Tony Oursler: White Trash and Phobic. Exh. cat. Geneva: Centre d’Art Contemporain; Berlin: Kunst Werk, 1993. Excerpts reprinted in Tony Oursler: Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls. Exh. cat. Frankfurt: Portikus, 1995.

“White Trash (excerpts)” (1993) Tony Oursler: Dummies, Clouds, Organs, Flowers, Watercolors, Videotapes, Alters, Performances and Dolls. Exh. cat. Frankfurt: Portikus, 1995.

“Jutta Koether.” Journal of Contemporary Art (Cologne, Germany), (Summer 1994): 7-24.

Artist Statement and ‘Intervention.’ Radical Scavenger(s): The Conceptual Vernacular in Recent American Art. Exh. cat. Chicago: Museum of Contemporary Art, 1994.

“Complex Event Postings” (1995) Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Goin’ Home, Goin’ Home.” The Thirteen Seasons (Heavy on the Winter) Exh. cat. Cologne: Jablonka Galerie: 1995. Reprinted in Painting at the Edge of the World, Ed. Douglas Fogle. Minneapolis: Walker Art Center, 2001; Minor Histories, Ed. John Welchman. Cambridge: MIT Press, 2004; Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Mortal Remains.” Mortal Remains. Ed. Ricardo Bloch and Don Celender. Minneapolis: Intermedia Arts Minnesota, 1995.

“The Complex” (1995) Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

Artist Pages. The Now Art Book. Ed. Noriko Fuku. Tokyo: Korinsha Press and Co., Ltd., 1996. 84-86.

“Mike Kelley: From Timeless/Authorless #9, 18 30 34, 44, 66.” Whitewalls: A Journal of Language and Art 38 (1996): 4.

“Mike Kelley: Repressed Architectural Memory Replaced by Psychic Reality.” Architecture (New York) 15 (1996): 36-39. Reprinted in De Witte Raaf (Brussels) 96 (Mar.-Apr. 2002): 9; Minor Histories: Statements, Converations, Proposals, Ed. John Welchman. Cambridge: MIT Press, 2004; As “Educational Complex.” Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Missing Time: Works on Paper Reconsidered 1974-1976.” Missing Time Works on Paper 1974-1976 Reconsidered. Hannover, Germany: Kestner-Gessellschaft, 1995. Excerpts reprinted in Documents sur l’art, Autumn, 1997: 138-141. Reprinted in Minor Histories: Statements, Conversations, Proposals. Ed. John Welchman. Cambridge: MIT Press, 2004; Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Mike Kelley on the Aliens Among Us.” World Art 14 Nov. 1997: 48-53. Interview with M.A. Greenstein.

“Shall We Kill Daddy?” Origin and Destination. Exh. cat. Ed. Alighiero E Boetti and Douglas Huebler. Brussels: La Societe des Expositions du Beaux-Arts, 1997. 155-171. Also published in C31 Magazine (Dec. 1996-Jan. 1997) <http://strikingdistance.

com/c3i1.html>.

“David Askevold: The California Years.” David Askevold: Cultural Geographies and Other Works. Exh. cat. British Colombia: Confederation Centre Art Gallery and Museum, 1998.

“Timeless/Authorless.” Asteroid Impaired: Righteous American Fiction: Volume 1. Ed. Alexis Hall, Catherine Sullivan and Benjamin Weissman. Pasadena, California: Art Center College of Design, 1997.

“My Universal System is a Dystopian One.” Sin Titulo 5 (1998): 89-165. Interview with Jose Alvaro Perdices.

“Dyspeptic Universe: Cody Hyun Choi’s Pepto-Bismal Paintings.” Farewell to the 20th Century: Cody Choi. Exh. cat. New York: Kukje Gallery and Deitch Projects, 1998.

“Hollywood Filmic Language, Stuttered (Caltiki the Immortal Monster and Rose Hobart).” More and Less. Ed. Sylvere Lotringer. Pasadena, California: Art Center College of Design, 1999.

“Sublevel: Dim Recollection Illuminated by Multicolored Swamp Gas” Mike Kelley: Two Projects. Exh. cat. Braunschweig, Germany: Kunstvarein Braunschweig, 1999. Reprinted in Minor Histories, Statements, Conversations, Proposals. Ed. John Welchman. Cambridge: MIT Press, 2004; Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“We Communicate Only Through Our Shared Dismissal of the Prelinguistic.” New Observations 118 (Spring 1998): 18-19. Also published in Wrong: The Journal of Highly Speculative Ideas. Ed. Brian McCormick. Pasadena, California: Art Center College of Design, 1999.

“The Greatest Tragedy of President Clinton’s Administration.” Let’s Entertain. Exh. cat. Minneapolis, Minnesota: Walker Art Museum; Paris: Centre Georges Pompidou, 2000. Text originally for poster published on the occasion of the exhibition “Mike Kelley” at Patrick Painter Inc., Santa Monica, 1999.

To be read aloud (A lire a haute voix). Exh. cat. Vienna, Austria: Verlag Pakesch & Schlebrugge, 1999. Discussion between Mike Kelley and Franz West.

“Go West.” John Miller: Parallel Economies. Exh. cat. Grenoble, France: Magasin Centre D’Art Contemporain de Grenoble, 1999.

“The Meaning is Confused Spatiality, Framed.” Mike Kelley. Exh. cat. Grenoble, France: Magasin: Centre D’Art Contemporain de Grenoble, 1999. Essays by Yves Aupetitallot, Laurence Rickels and Mike Kelley.

“An Endless Script: Dialogue Between Tony Oursler and Mike Kelley.” Introjection: Tony Oursler Mid-Career Survey 1976-1999. Exh. cat. Ed. Deborah Rothschild. Williamstown: Williams College Museum of Art, 1999.

“Here Comes Everybody: A Conversation Between Jim Shaw and Mike Kelley.” Jim Shaw: Everything Must Go, 1974-1999. Exh. cat. Luxembourg: Casino Luxembourg; Santa Monica: Smart Art Press, 1999.

“Geheimgeschichten: Interviews with Mary Woronov, AA Bronson, Sebastian, and Pamela Des Barres.” Text zur Kunst (Sept. 1999). Interviews conducted by Mike Kelley, Diederich Diederichsen, and Juliane Rebentisch.

“Cross Gender/Cross Genre.” Performing Arts Journal 64, 22.1 (Jan. 2000):1-9. Reprinted in Mike Kelley, Peter Fischli, David Weiss. Exh. cat. Ingvild Goetz and Rainald Schumacher, eds. Munich: Sammlung Goetz: 2000.; Just Love Me: Post/Feminist Positions of the 1990s from the Goetz Collection. Exh. cat. Köln: Verlag Der Buchhandlung Walter König, 2002. 84-99.; (In German) Golden Years, Wilfried Prantner et. al, eds. Graz: Editon Camera Austria, 2006.; Mike Kelley. Exh cat. Karsten Lockemann and Stephan Urbaschek, eds. Munich: Ingvild Goetz: 2008.

“A Domestic Scene.” Kim’s Bedroom. Exh. cat. Paris: Purple Books, 2000.

“Alma Pater.” Mike Kelley, Peter Fischli and David Weiss. Exh. cat. Munich: Sammlung Goetz, 2000. Reprinted in Mike Kelley. Exh cat. Karsten Lockemann and Stephan Urbaschek, eds. Munich: Ingvild Goetz: 2008.

“Strange Früt: Rock Apocrypha , By the Destroy All Monsters Collective.” Artists Take on Detroit: Projects for the Tricentennial. Exh. cat. Detroit, Michigan: The Detroit Institute of Arts 2001. <http://www.dia.org/artiststake>. Also published in Sympathy for the Devil: Art and Rock and Roll Since 1967. Exh. cat. New Haven: Yale University Press, 2007.

“Artist/Critic.” When Down is Up: Ausgewählte Schriften 1987-1999. Ed. John Miller. Frankfurt: Revolver Archiv für aktuelle kunst, 2001.

“Myth Science.” Öyvind Fahlström: The Complete Graphics, Multiples, and Sound Works. Exh. cat. Vienna: BAWAG Foundation, 2001.

“An Academic Cut-Up, in Easily Digestible Paragraph-Sized Chunks Or THE NEW KING OF POP: DR. KONSTANTIN RAUDIVE.” Sonic Process. Exh. cat. Paris: Éditions du Centre Geeorges Pompidou, 2002. English language version published in Grey Room 11 (Spring 2003).

“Mike Kelley.” Francis Picabia. Exh. cat. Paris: Musée d’Art Modern de la Ville de Paris, 2002.

“Reversals, Recyclings, Completions, and Late Additions.” Press release for Metro Pictures, Inc., New York, 2002. Reprinted in Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Ufology: Aesthetics of UFO’s.” 1997/2002. Blastitude 13 (Aug. 2002).

Foul Perfection: Essays and Criticism. Ed. John C. Welchman. Cambridge: MIT Press, 2003.

“Mike Kelley Talks to Dennis Cooper.” Artforum (40th Anniversary Special Issue, The 1980s: Part Two) (Apr. 2003). 224-225+.

“Excerpts from A Conversation: Mike Kelley and A.A. Bronson.” General Idea Editions: 1967-1995. Exh. cat. Ed. Barbara Fischer. Mississauga, Ontario: Blackwood Gallery University of Toronto at Mississauga, 2003.

“Black Out.” Minor Histories: Statements, Conversations, Proposals. Ed. John Welchman. Cambridge: MIT Press, 2004. Reprinted in Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

Minor Histories: Statements, Conversations, Proposals. Ed. John Welchman. Cambridge: MIT Press, 2004. “Sonic Youth by Mike Kelley.” Interview (Aug. 2004): 94-95. Mike Kelley interviews Sonic Youth.

“Mike Kelley, Tony Oursler: Entretien” L’Horreur Comique: Esthétique Du Slapstick. Paris: Centre du Pompidou, 2004: 147-157.

“Memory Ware.” Minor Histories: Statements, Conversations, Proposals. Ed. John Welchman. Cambridge: MIT Press, 2004. Reprinted as “Double Contour with Side Bars and Memory Ware.” Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

Interviews, Conversations and Chit-Chat (1986-2004). Ed. John C. Welchman. Zurich: JRP/Ringier; Dijon: Les Presses du réel, 2005.

“New Introduction to the Uncanny” and “Playing With Dead Things.” Les Cahiers du Musée national d’art moderne (Paris, Centre Georges Pompidou) 93 (Fall 2005): 20-47. “Playing with Dead Things” originally published in The Uncanny. Exh. cat. Arnhem, The Netherlands: Sonsbeek, 1993. “New Introduction to the Uncanny” originally published in The Uncanny by Mike Kelley, Artist. Exh. cat. Liverpool: Tate Liverpool; Vienna: MUMoK, 2004; Excerpt reprinted in Colour: Documents of Contemporary Art. David Batchelor, ed. London: Whitechapel: 195-198.

“Legend Tripping.” Cameron Jamie. Exh. cat. Graz: Kunstlerhaus Graz, Hatje Cantz Verlag, 2006. 23-33.

“John Duncan: Los Angeles, late 1970’s/early 1980’s,” John Duncan: Works 1975 to 2005. Los Angeles: Errant Bodies Press (Critical Ear Series, Vol. 3), 2006.

“Best of 2006: Mike Kelley.” Artforum (Dec. 2006): 282-283.

Carole Caroompas. Los Angeles: Western Project: 2007.

“Urban Gothic” (1985) and “Playing with Dead Things: On the Uncanny (1993/2004f).” The Gothic. Documents of Contemporary Art Series. Ed. Gilda Williams. London: Whitechapel Ventures Limited; Cambridge: MIT Press, 2007. 36-37; 174-182.

“Day Is Done” Day Is Done. Exh. cat. New Haven: Yale University Press, 2007. Excerpt published as “Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene).” Minor Histories: Statements, Conversations, Proposals. Ed. John Welchman. Cambrige: MIT Press, 2004.; Reprinted as “Day Is Done: Extracurricular Activity Projective Reconstructions #2-32.” Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

Essay on Guy de Cointet. Artforum 45.10, 2007.

“Is it Mike Enough?” Mike’s World. Exh. cat. Austin, Texas: Blanton Museum of Art, University of Texas at Austin, 2007. 14-30. Mike Kelley interviews Mike Smith.

“Mike Kelley on Andy Warhol.” Andy Warhol: A Guide to 706 Items in 2 Hours 56 Minutes. Exh. Cat. Ed. Eva Meyer-Hermann. Rotterdam: NAi Publishers, 2007: 31-33.

“Mytforskning: Mike Kelley om Öyvind Fahlström.” Öyvind Fahlström: Med världen som spelplan (The World as a Game). Exh. Cat. Ed. Sophie Allgåardh. Halmstad: Printografen, 2007. 106-129.

“Rose Hobart II” (2007) Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Playing with Dead Things.” Colour: Documents of Contemporary Art. Ed. David Batchelor. London: Whitechapel, 2008. 195-198. Originally published in The Uncanny. Exh. cat. Arnhem, The Netherlands: Sonsbeek, 1993.

“Presenting the Preservationist Journal of Hick Erotic Folklore.” Sex to Sexty. Ed. Dian Hanson. Los Angeles: Taschen, 2008. Reprinted in Taschen (Germany) 2008: 20-21.

“In the Weave of Reason: Mike Kelley on David Askevold (1940-2008).” Artforum. (Summer 2008): 70.

“Cultivation by Radioactivity.” Tetsumi Kudo: Garden of Metamorphosis. Exh. cat. Ed: Doryun Chong. New York: Distributed Art Publishers, 2008.

“Horizontal Tracking Shots: Notebook Entries.” Horizontal Tracking Shots. Exh. cat. New York: Gagosian Gallery, 2009.

“Photographs/Sculptures.” Mike Kelley: Photographs/Sculptures. Exh. cat. Tokyo: Wako Works of Art, 2009.

“Uncleaned Aquarium of the Cosmos.” Mike Kelley: Photographs/Sculptures. Exh. cat. Tokyo: Wako Works of Art, 2009.

“Emotional Rescue: The Film and Performance Works of Marnie Weber. Marnie Weber in Conversation with Mike Kelley,” Marnie Weber. Ed. Yves Aupetitallot. Exh. cat. Grenoble: Magasin, 2010.

“Body of Influence: Six Views on Paul Thek,” Artforum (January 2011): 161.

 

PROJECTS AND COVERS FOR MAGAZINES AND JOURNALS

Visionaire 57 2010 (December 2009): np.

“Project Related Flow Chart.” Published as a poster for the exhibition “Mike Kelley: Educational Complex Onward 1995-2008, WIELS, 2008. Reprinted in Educational Complex Onwards 1995-2008. Ed. Mike Kelley and Anne Pontegnie. Zurich: JRP Ringier, 2009.

“Pagan Michigan.” Artillery Magazine 3:4 (Apr. 2009): 24-25.

“Biblische Dame.” Advertisement. Focus Magazin Verlag. 10 Sept. 2007. For Lot’s Wife Salted Soap on a rope.

“Lot’s Wife. Salted Soap on a Rope (Mike Kelley Texte Zur Kunst-Sonderedition Heft Nr. 67.)” Advertisement. Texte Zur Kunst (Sept. 2007): 332-333.

“Portfolio/ Mike Kelley: Day Is Done (Extracurricular Activity Projective Reconstruction Series), 2004/2005.” Mouvement Anniversary Issue (Mar.-June 2005): 144-155. Production Stills from Day Is Done.

Artist Designed Recipe Cards, 2002. Artist’s recipe card.

“Sketchbook Issue.” X-tra 4.4 (Spring, 2002).

“Sod and Sodie Sock,” Wirtschaft (Austria) 23 Sept. 1998. Artist page, with Paul McCarthy.

“Fresh Acconci.” Snowflake 3.26 (1996): 4. Still photo, with Paul McCarthy.

Color This!: A Collection of Los Angeles Artists’ Drawings. Los Angeles: Los Angeles Foundation for Art Resources, Inc., 1994. 56.

“Monster Manse.” Grand Street 49 (1994): 224-233. Text by Mike Kelley, photographs by Daniel Faust, captions by Forrest J. Ackerman.

Ruh Roh 1 (Dec. 1992): 16-18.

“The Silent Scream.” Art Issues 2 (Feb. 1989).

“Artist Page.” Artpaper (Feb. 1988).

Zyzzyva (Spring 1988). Drawings.

Flanagan, Bob. Slave Sonnets. New York: Cold Calm Press, 1986. Cover design and artwork.

Artweek 31 (28 Sept 1985). Cover image.

The Paris Review (Fall 1985). Cover image.

“The Spot Syndrome.” New Observations (1984). With Ericka Beckman.

Beyond Baroque Foundation (Spring 1984): Cover Drawing.

Spectacle 1 (1984). Drawing.

“Conserve Energy.” In conjunction with “A Meeting of Media” by Christopher Knight. Los Angeles Herald Examiner, California Living Magazine 22 Nov. 1981.

INTERVIEWS WITH THE ARTIST

Albertini, Rosanna. “On the Sex of Art.” Artpress (France) 205 (Sept. 1995): 42-43.

Antoine, Jean-Philippe. “Basket nocturne a dos d’ane.” Les Cahiers du Musée national d’art moderne (Paris, Centre Georges Pompidou) 73 (Fall 2000): 102-123.

Bessa, Sergio. “Historic Kiosk.” Zingmagazine 2 (Summer 1998).

Berwick, Carly. “Mike Kelley: An Interview by Carly Berwick.” Art in America (Nov. 2009): 170-175.

Bessing, Joachim. “Mike Kelley. Kandor.” Quest 28 (Oct./Nov. 2007): 116-121.

Burnham, Clint. “It’s Clean Dirt.” The Drippy Gazette (Jan. 2000): 4.

Braet, Jan. “Kunst is alttijd sociaal.” Knack (Sweden) 51 (28 Dec. 1999): 80-82.

Breitenberg, Mark. “Freak Culture.” Art & Text (Feb.-Apr. 2000): 54-61.

Brugerolle, Mary de. “Fragments et Bribes.” Trouble 2 (2002): 110-117.

Burnichon, Marie-Cecile. “Special Ketchup Forces.” O2 28 (Winter 2003/2004):32-33.

Casavecchia, Barbara and Helena Kontova. “Mike Kelley: Non Aprite Quella Porta.” Flash Art (Italy) 223 (Oct.-Nov. 2000): 82-85.

Chevrier, Jean-Francois. “Mike Kelley.” Galeries Magazine (1991): 89-91+.

Colin, Kim, and Mark Skiles. “Missing Space/Time: A Conversation With Mike Kelley.” Offramp 6 (1995): 80-99.

Cooper, Dennis. “Trauma Club.” Artforum (Oct. 2000): 126-129.

Cooper, Dennis. “Mike Kelley Talks to Dennis Cooper.” Artforum (Apr. 2003): 224-225+.

Cotter, Holland. “Eight Artists Interviewed.” Art in America (May 1987): 162-197.

Cranston, Meg. “Deploy All Monsters.” Raygun (Apr. 1999).

Decter, Joshua. “Stephen Prina and Mike Kelley.” A/drift. Exh. cat. Annandale on Hudson, New York: Bard College, 1997. 47-55.

“The Dirty Boys: Conversations with Mike Kelley and John Waters.” Grand Street 57: Dirt (1996): 8-22. Reprinted in Interviews, Conversations and Chit-Chat (1986-2004). Ed. John C. Welchman. Zurich: JRP/Ringier; Dijon: Les Presses du réel, 2005. 119-134.

Eikmeyer, Robert “Destroy All Monsters.” FACE/OFF: Im Körper des Feindes. Ed. Robert Eikemeyer. Frankfurt: Revolver Archiv für aktuelle kunst, 2004. 63-69.

Ekeberg, Jonas. “En Slags Perversion.” Hyperfoto 3-4 (1996): 36-41.

Gholson, Craig. “Mike Kelley.” Bomb (Winter 1988): 85.

Graw, Isabelle. “Isabelle Graw in Conversation with Mike Kelley.” Mike Kelley. London: Phaidon Press Ltd, 1999: 8-41. Reprinted in Press Play: Contemporary Artists in Conversation. London: Phaidon, 2005. 380-395.

Hainley, Bruce and John Waters. “Nine Sex Questions.” Art-A Sex Book. Ed. Bruce Hainley and John Waters. London: Thames & Hudson, 2003. 43+ and cover.

Halle, Howard. “Mike Kelley and Michael Smith.” Time Out New York 726 27 Aug 2009: np.

Hess, Ewa. “Wo hört das Chaos auf, wo fängt die Form an?” Sonntags Zeitung (German) (2 Apr. 2000): 67.

Hofleitner, Johanna. “Familien-Analyse: Interview with Mike Kelley and Paul McCarthy.” Die Presse Schaufenster 18 Sept. 1998: 6-7.

Jocks, Heinz-Norbert. “Mit sex kann man der Bourgeoisie heute keinen Schlag mer verpassen.” Kunstforum 130 (May-July 1995): 273-93.

_______. “Als Kind war ich ein Bucherwurm, der davon traumte, eines Tages ein Erzahler zu werden.” Kunstforum 139 (Dec. 1997-Mar. 1998): 186-195.

Kimmelman, Michael. “Kandors: Mike Kelley Kryptonizes Beauty and the Sublime.” Contemporary Culture 32.14 (Berlin) (Winter 2007/2008): 248.

Kimmelman, Michael. “Shocking People with a Pretty Show.” The Berlin Journal (Spring 2008): 26-31.

Kellein, Thomas. Mike Kelley/Thomas Kellein: A Conversation. Stuttgart, Germany: Cantz Verlag, 1994.

Koether, Jutta. “Jutta Koether 100% Malerie oder wie aus Musik Malerie wird und Umgekehrt: ein Gesprach von Mike Kelley.” Kunstforum 134 (May-Sept. 1996): 242-248.

Kothenschulte, Daniel. “Black Nostalgia: an Interview with Mike Kelley.” Mike Kelley. Exh. cat. Branschweig: Kunstverein Braunschweig and Cologne: Verlag der Buchhandlung Walther Konig, 1999.

Kremer, Mark. “Mike Kelley: A Fucked-Up Mirror of Dominant Image Making.” Art Press (France) 183 (Sept. 1993): E5-8.

Kubik, Chris. “Mike Kelley Babbles, Bullshits, and Speaks in Tongues.” Conduit 1 (Spring 2001).

Löckemann, Karsten and Stephan Urbaschek. “A Telephone Conversation with Mike Kelley, August 2008.” Mike Kelley. Ed. Karsten Löckemann and Stephan Urbaschek. Munich: Ingvild Goetz, 2008: 72-93.

Lütticken, Sven. “De infantiliseringscultuur.” De Witte Raaf 96 (Mar.-Apr. 2002): 9.

Martin, Tim. “Mike Kelley im Gesprach mit Timothy Martin, Wien, 1992.” KunstlerInnen: 50 Gesprache. Exh. cat. Vienna: Kunsthaus Bregenz, 1997. 138-141.

McKenna, Kristine. “The Taboo Artist.” Los Angeles Times 5 July 1992: 4+.

McMullen, Dan. “Interview: Mike Kelley.” Artists News (Feb. 1981).

Miller, Ken. “Mike Kelley.” Tokion (Nov.-Dec. 2004): 50-51.

Miller, John. “Too Young to be a Hippy, Too Old to be a Punk,” Be Magazin 1 1, (24 May 1994): 119-123 with German translation by Clara Dreschler, 124-129. Excerpts republished as “Marcuse fur Teenager” Die Tageszeitung, (27 May 1994): 15 “Die Depolitisierung der Hippiekultur trug zu ihrer Mystifizierung bei.” Kunstforum 134 (May-Sept. 1996): 199-205; Reprinted as “Too Young to be a Hippie, Too Old to be a Punk.” When Down is Up. John Miller. Frankfurt, Germany: Revolver Archiv für Actuelle Kunst, 2001: 141-157.

________. “Interview with John Miller.” Mike Kelley. Ed. William S. Bartman, and Miyoshi Barosh. New York: Art Resources Transfer, 1992. Excerpts reprinted in Bomb (Winter 1992): 26-31.

Morishita, Taisuke. “Mike Kelley.” Freakout 17 (Japan) (1997): 4+.

Muller, Markus and Ulrike Groos. “Interview with Mike Kelley.” Make It Funky. Cologne: Oktagon, 1998. 190-204.

O’Brien, Glenn. “Mike Kelley.” Interview Dec/Jan 2009: 172-179.

Reid, Larry. “Sympathy for Stuffed Animals and UFO Abductees: Kelley Explains Himself and Destroy All Monsters.” Juxtapoz (Spring 1995): 28-35.

Rollig, Stella. “Die Kunst wird wie die Liebe vollig grundlos fur ein Vergnugen gehalten.” Artis (Feb. 1992): 16-22.

Rugoff, Ralph. “Dirty Toys: Mike Kelley Interviewed.” 21st Century (Winter 1992): 4-11.

Rugoff, Ralph. “Existing in an Ahistorical Fantasy Space of Trauma.” Horizontal Tracking Shots. Exh. cat. New York: Gagosian Gallery, 2009: 115-127.

Sanders, Mark. “Blah, Blah, Blah.” Dazed and Confused 17 (1995): 80-83.

Sconce, Jeffrey. “I’ve Got This Strange Feeling…” Tate Etc. 1 (Summer 2004): 88-93. Reprinted in Interviews, Conversations and Chit-Chat (1986-2004). Ed. John C. Welchman. Zurich: JRP/Ringier; Dijon: Les Presses du réel, 2005. 263-273.

“See You at the Velvet Goldmine, Richard Prince Meets Mike Kelley.” Dazed and Confused (Jan. 1999): 116-121. Reprinted in Interviews, Conversations and Chit-Chat (1986-2004). Ed. John C. Welchman. Zurich: JRP/Ringier; Dijon: Les Presses du réel, 2005. 187-198.

Sentinery, Robert. “Mike Kelley: Form and Disfunction.” Zone 3 2 (1994): 13-18.

Smith, Ed. “Mike Kelley.” Shiny 3 (1987).

Smith, Michael, “Mike Talks to Mike About Mike.” High Performance 33 (1986). Reprinted in Interviews, Conversations and Chit-Chat (1986-2004). Ed. John C. Welchman. Zurich: JRP/Ringier; Dijon: Les Presses du réel, 2005. 41-64.

Storr, Robert. “An Interview With Mike Kelley.” Art in America (June 1994): 90-93.

Sylvester, Julie. “Talking Failure.” Parkett 31 (1992): 100-103.

Taylor, Paul. “Interview with Mike Kelley.” Flash Art (Oct. 1990).

Titz, Walter. “Schräges und Schönes.” Kleine Zeitung Online 21 May 2009: np.

Waters, John. “Mike Kelley, You Have Made an Epic!” Flash Art (Nov.-Dec. 2005): 54-58.

Wilder, Chris. “A Dialogue Between Chris Wilder and Mike Kelley.” BE #5: Kunstlerhaus Bethanian (Berlin) 5 (May 1998): 41-53.

Welchman, John C. “On the Beyond: A Conversation between Mike Kelley, Jim Shaw, and John C. Welchman.” Austria: Springer-Verlag/Wien: 2011.

Ed. “Das Unheimliche ist eine sehr flüchtige Erfahrung.” Profil (Austria) 2004: np.

Ed. “So schön wie ein Matisse.” Interview with Focus Magazine. Focus 47 (2007): 112.

Ed. “Speaking Volumes: 19 Interviews.” Art in America Nov. 2006: 190+

MONOGRAPHS, ONE-ARTIST EXHIBITION CATALOGUES, and ARTIST’S BOOKS

Arden, Roy, and Scott Watson, eds. Consolation Prize: Mike Kelley & John Miller. Exh. cat. Vancouver, Canada: Morris and Helen Belkin Art Gallery, 2000.

Bartman, William S., and Miyoshi Barosh, eds. Mike Kelley. New York: Art Resources Transfer, 1992.

Cruz, Amada. Mike Kelley: Half a Man. Exh. cat. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1991.

Francis, Mark, ed. Hermaphrodite Drawings (2005-2006). Exh. cat. New York: Gagosian Gallery, 2007.

Haenlin, Carl, ed. Missing Time Works on Paper 1974-76 Reconsidered. Exh. cat. Hannover, Germany: Kestner-Gesellschaft, 1995. Essays by Timothy Martin, Carsten Arhens, Carl Haenlein. Excerpts reprinted in Documents sur l’art (Autumn 1997): 138-141.

Heymer, Kay, ed. The Thirteen Seasons (Heavy on the Winter). Exh. cat. Cologne, Germany: Jablonka Galerie, 1995.

Ichihara, Kentaro, ed. Land O’Lakes. Exh. cat. Tokyo, Japan: Wako Works of Art, 1996.

Kellein, Thomas. Mike Kelley. Exh. cat. Basel, Switzerland: Kunsthalle, 1992.

_______. Mike Kelley/Thomas Kellein: A Conversation. Stuttgart, Germany: Cantz Verlag, 1994.

Kelley, Mike. Day Is Done. New York: Gagosian Gallery, 2007.

Kelley, Mike. Horizontal Tracking Shots. Exh. cat. New York: Gagosian Gallery, 2009.

Kelley, Mike. Kandors. Exh. cat. Cologne: Jablonka Gallery, 2010.

Kelley, Mike. Memory Ware, Wood Grain, Carpet. Exh. cat. Milano, Italy: Galleria Emi Fontana, 2004.

Kelley, Mike. Mike Kelley. London, England: Phaidon Press Ltd, 1999.

Kelley, Mike. Mike Kelley: Photographs/Sculptures. Exh. cat. Tokyo, Japan: Wako Works of Art, 2009.

Kelley, Mike. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. Venice, California: New City Editions; New York: Artist’s Space, 1986.

Kelley, Mike. Reconstructed History. Cologne, Germany: Galerie Gisela Capitain; New York: Thea Westreich, 1990.

Kelley, Mike. Mike Kelley: Two Projects. Exh. cat. Braunschweig, Germany: Kunstverein Braunschweig, 1999.

Kelley, Mike, and Tony Oursler. The Poetics Project: 1977-1997 (Documenta version). Exh. cat. Tokyo, Japan: Watari-um, The Watari Museum of Contemporary Art, 1997.

Kelley, Mike, and Tony Oursler. Tony Oursler and Mike Kelley: The Poetics Project. Exh. cat. Tokyo, Japan: Watari-um, The Watari Museum of Contemporary Art, 1997.

Kelley, Mike. The Uncanny. Exh. cat. Arnhem, The Netherlands: Sonsbeek, 1993.

Kelley, Mike, The Uncanny by Mike Kelley, Artist. Exh cat. Liverpool, England: Tate Liverpool; Vienna, Austria: Museum Moderner Kunst Stiftung Ludwig Wien, 2004. English and German-English editions. Essays by Mike Kelley, John Welchman and Christoph Grunenberg.

Knight, Christopher. Mike Kelley. Exh. cat. Cologne, Germany: Jablonka Galerie, 1989.

Lockemann, Karsten, and Stephan Urbaschek, eds. Mike Kelley. Exh. cat. Munich: Ingvald Goetz, 2008.

McCarthy, Paul, and Mike Kelley. Heidi: Midlife Crisis Trauma Center and Negative Medida-Engram Abreaction Release Zone. Exh. cat. Vienna: Galerie Krinzinger, 1992. Essay by Tim Martin. Published on the occasion of the exhibition LAX.

Nilsson, Bo, and Jose Lebrero Stals, eds. Mike Kelley. Exh. cat. Malmö, Sweden: Rooseum Center for Contemporary Art, 1997.

Pontégnie, Anne, ed. Educational Complex Onwards 1992-2008. Exh. cat. Zurich, Switzerland: JRP Ringier, 2008.

Schlebrügge, Johannes, ed. Mike Kelley, Franz West. Exh. cat. Brussels, Belgium: One Two Three, 2001.

Singerman, Howard, and John Miller. Mike Kelley: Three Projects: Half a Man, From My Institution to Yours, Pay For Your Pleasure. Exh. cat. Chicago: The Renaissance Society at the University of Chicago, 1988.

Stals, Jose Lebrero, ed. Mike Kelley 1985-1996. Exh. cat. Barcelona, Spain: Museu d’Art Contemporani, 1997. Essays by Timothy Martin, Jose Lebrero Stals, Elizabeth Sussman, Mike Kelley and Anthony Vidler.

Sussman, Elizabeth. Mike Kelley: Catholic Tastes. Exh. cat. New York: Whitney Museum of American Art and Harry M. Abrams Inc., 1993. Essays by Richard Armstrong, Dennis Copper and Casey McKinney, Deidrich Diedrchsen, Jutta Keother, Martin Prinzhorn, Howard N. Fox, Colin Gardner, Kim Gordon, John G. Hanhardt, David Marsh, Timothy Martin, John Miller, Ralph Rugoff, Paul Schimmel and Howard Singerman.

GROUP EXHIBITION CATALOGUES AND REFERENCE BOOKS

100 Artists See God. Exh. cat. Eds. John Baldessari and Meg Cranston. New York: Independent Curators International, 2004.

100 Artists See Satan. Exh. Cat. Ed. Sue Henger. San Francisco: Last Gasp; Fullerton: Grand Central Art Center, California State University Fullerton, 2004.

100 Contemporary Artists. Ed. Hans Werner Holzwarth. Los Angeles: Taschen America, 2009.

200 Artworks, 25 Years: Artists’ Editions for Parkett. Ed. Mark Welzel. Zurich: Parkett, 2009.

50 Contemporary Artists You Should Know. Ed. Brad Finger and Cristiane Weidemann. New York: Prestel Verlag, 2011.

Abject Art: Repulsion and Desire in American Art. Exh. cat. Ed. Jane Philbrick. New York: The Whitney Independent Study Program, 1995.

Action/Performance and the Photograph. Exh. cat. Ed. Robert C. Morgan. Los Angeles: Turner/Krull Galleries, 1993.

Adopt a Drawing: International Travelling Exhibition of Big and Little Artists. Eds. Sergio Casoli and Elena Geuna. Exh cat. Rome: Emergency, 2008

The Age of Modernism: Art in the 20th Century. Exh. cat. Berlin: Martin-Grobius-Bau, 1997.

All the Best: The Deutsche Bank Collection and Zaha Hadid. Exh. cat. Ariane Grigoteit. Leimen: ColorDruck, 2006.

Allegories of Modernism: Contemporary Drawing. Exh. cat. Ed. Bernice Rose. New York: The Museum of Modern Art, 1992.

Alpha Omega – Works from the Dakis Joannou Collection. Exh. cat. Ed. Massimiliano Gioni. Athens: DESTE Foundation for Contemporary Art, 2010.

American Art from the Goetz Collection, Munich. Exh. cat. Eds. Noemi Smolik and Rainald Schumacher. Prague: Galerie Rudolfinum, 2001.

American Film & Video: WHITNEY BIENNIAL, Electronic Undercurrents. Exh. cat. Eds. Vibeke Petersen and Marianne Torp Ockenholt. Copenhagen: Statens Museum for Kunst, 1996.

American Stories: Amidst Displacement and Transformation. Exh. cat. Tokyo: Setagaya Museum of Art, 1997.

American Playhouse: The Theatre of Self-Presentation. Exh. cat. Toronto: The Power Plant, 1998.

American Visionaries: Selections from the Whitney Museum of American Art. Maxwell Anderson. New York: Whitney Museum of American Art, 2002, 162.

Animals. Exh. cat. Ed. Christiane Schneider. London: Haunch of Venison Gallery, 2004.

Après: 7E Biennale D’Art Contemporain De Lyon. Exh. cat. Eds. Xavier Douroux, Franck Gautherot, Eric Troncy, with Robert Nickas, Anne Pontégnie. Lyon: Les Presses du réel/Fage éditions, 2003.

Arrested Childhood. Exh. cat. Ed. Bonnie Clearwater. North Miami, Florida: Center for Contemporary Art, 1994.

Ars Pro Domo: Zeitgenossische Kunst aus Kolner Privathesitz. Exh. cat. Ed. Wilfried Dickhoff. Cologne, Germany: Museum Ludwig, 1992.

Art After Appropriation: Essays on Art in the 1990s. By John C. Welchman. Amsterdam: G+B Arts International, 2001.

Art at the End of the 20th Century. Exh. cat. Eds. David A. Ross and Eugenie Tsai. New York: Whitney Museum of American Art, 1997.

Art Now. Cat. Eds. Uta Grosenick and Burkhard Riemschneider. Cologne: Taschen, 2001.

Art Now; Volume 3. Cat. Ed. Hans Werner Holzwarth. Cologne: Taschen, 2008

The Art of Not Making. Ed. Michael Petry. London: Thames and Hudson, 2011.

Art of the 20th Century: Volume II. Ed. Ingo F. Walther. Cologne, Lisbon, London, New York, Paris, Tokyo: Taschen, 1998.

L’art au corps. Marseilles: Musées de Marseille, 1996.

Artificial Intelligence in the Arts, nr. 1 “Brainwork.” Ed. Richard Kriesche. Graz, Austria: Steirischer Herbst, 1985.

Art­–A Sex Book. Eds. Bruce Hainley and John Waters. London: Thames & Hudson, 2003.

Art in the Center: Two Discussions on Documenta X. Ed. Peter Noever. Vienna: MAK-Austrian Center for the Applied Arts, 1997.

Art: Key Contemporary Thinkers. Eds. Diarmuid Costello and Johnathan Vickery. Oxford: Berg, 2007.

Art at Home: Ideal Standard Life. Exh. cat. Ed. Takayo Lida. Tokyo: Spiral Garden, 1997.

Art at Ringier: 1995-1998. Ringier AG, Zurich: 1999.

Art Since 1940: Strategies of Being. 2nd ed. By Johnathan Fineberg. Englewood Cliffs, New Jersey: Prentice Hall, 2000,482-483.

Artists Take on Detroit: Projects for the Tricentennial. Web-based exh. cat. Detroit: Detroit Institute of the Arts, 2001.

Art Today. By Brandon Taylor. London: Laurence King Publishing Ltd, 2005.

Au-dela du Spectacle. Exh. Pamphlet. Paris: Centre Georges Pompidou, 2000.

Aus der Sammlung von Arend und Brigitte Oetker. Exh. cat. Ed. Brigitte Oetker, et al. Köln: Verlag der Buchhandlung Walther Konig, 2008.

Avant: 7th Biennale d’Art Contemporain de Lyon. Exh. cat. Lyon: Fage editions, 2003.

Avant-Garde in the Eighties. Exh. cat. Ed. Howard N. Fox. Los Angeles: Los Angeles County Museum of Art, 1987.

Awards in The Visual Arts 7. Exh. cat. Winston-Salem, North Carolina: South Eastern Center for Contemporary Art, 1988.

Bad Girls and Sick Boys. Ed. Linda Kauffman. Berkeley and Los Angeles: University of California Press, 1998.

Bijoux de Famille. Galerie Chantal Crousel, 2009.

The BiNational: American Art of the Late 80s/German Art in the Late Eighties. Exh. cat. Eds. Trevor Fairbrother, David Joselit, and Elisabeth Sussman. Boston: The Institute of Contemporary Art and Museum of Fine Arts, 1988.

Bits and Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections. Eds. Joan Rothfuss and Elizabeth Carpenter. Minneapolis: Walker Art Center, 2005.

California Video: Artists and Histories. Ed. Glenn Phillips. Los Angeles: Getty Publications, 2008. Exh. cat.

Catalogue Raisonné: Collection of Contemporary Art Fundación “la Caixa” Volume I. Barcelona: Fundación “la Caixa”, 2002.

Catalogue Raisonné: Collection of Contemoprary Art Fundación “la Caixa” Volume II. Barcelona: Fundación “la Caixa”, 2002.

Cal Arts: Skeptical Belief(s). Exh. cat. Eds. Catherine Lord et al. Chicago: The Renaissance Society at The University of Chicago; Newport Beach, California: Newport Harbor Art Museum, 1987.

California Artists: William T. Wiley, Mike Kelley, Brad Dunning. Exh. booklet. Ridgefield, Connecticut: Aldrich Museum of Contemporary Art, 1991.

The Carnegie International 1991, Vol. 1. Exh. cat. Eds. Lynne Cooke and Mark Francis. Pittsburgh: The Carnegie Museum of Art, 1992.

Chambris d’Amis. Exh. cat. Ghent, Belgium: Museum of Contemporary Art, 1997.

Close-Up. Exh. cat. Ed. Fiona Bradley. Edinburgh: The Fruitmarket Gallery, 2008.

Collateral: When Art Looks Like Cinema. Exh. cat. Milan: Hangar Bicocca, 2007. In Spanish: Colateral 2: Quando a arte olha o cinema, Adelina Von Fürstenberg. São Paulo: SESCSP, 2008.

The Collection Book: Thyssen-Bornemisza Art Contemporary. Eds. Eva Ebersberger and Daniela Zyman. Cologne: Verlag der Buchhandlung Walther König, 2009.

Color Chart: Reinventing Color, 1950 to Today. Exh. cat. Ed. Emily Hall, et al. New York: The Museum of Modern Art, 2008.

Colour: Documents of Contemporary Art. Ed. David Batchelor. London: Whitechapel.

“From the Poetics Project.” Columbia: A Journal of Literature and Art 33 (Summer 1999). With Tony Oursler.

Compass in Hand: Selections from the Judith Rothschild Foundation Contemporary Drawings Collection. Exh. cat. Ed. Christian Rattemeyer. New York: Museum of Modern Art, 2009.

Contemporary Diptychs: Divided Visions. Exh. brochure. Ed. Roni Feinstein. Stamford, Connecticut: Whitney Museum of American Art at Fairfield County, 1987.

Contemporary Drawings: In Search of an Image. Exh. cat. Santa Barbara: University Art Museum, University of California, 1981. Essay by Vivian Ebersman and Justin Ebersman.

Contemporary Glass. Ed. Blanche Craig. London: Black Dog Press, 2008.

Crash. Exh. cat. Ed. Mark Francis and Kay Pallister. London: Gagosian Gallery, 2010.

Creamier: Contemporary Art In Culture: 10 Curators, 100 Contemporary Artists, 10 Sources. London: Phai~don, 2010.

A Creative Legacy: A History of The National Endowment for The Arts Visual Artists’ Fellowship Program 1966-1995. Essays by Nancy Princethal and Jennifer Dowley. New York: Harry N. Abrams, Inc., in association with the National Endowment for the Arts, 2002.

Currents—7: Words in Action. Exh. cat. Wisconsin: Milwaukee Art Museum, 1985.

[Cut]-Los Angeles—90′s Art Scene. Exh. cat. Copenhagen: Kunstforeningen, 1994.

Daiwa Radiator Factory: Viewing Room Vol. 01, June 2006. Hiroshima, Japan: Daiwa Radiator Factory, 2006.

Dance With Camera. Exh. cat. Jenelle Porter. Philadelphia: Institute of Contemporary Art. 2009.

Das Americas. Exh. cat. Ed. Carlos Basualdo. Sao Paulo, Brazil: Isabella Prata Consultoria de Arte and Galerie Luisa Strina, 1994.

Destroy All Monsters Magazine 1976-1979. Ed. Cary Loren. New York: Primary Information, 2001.

Destello. Ed. Fernando Espinosa. Ecatapec: Fundacion/Coleccion Jumex, 2011.

Desorders: Nan Goldin, Mike Kelley, Kiki Smith, Jana Sterbak, Tunga. Exh. cat. Eds. Catherine David and Veronique Dabin. Paris: Galerie nationale du Jeu de Paume, 1992.

The Devil on the Stairs: Looking Back on the Eighties. Exh. cat. Newport Beach, California: Newport Harbor Art Museum, 1991.

Dirty Data: Sammlung Schurmann. Exh. cat. Aachen, Germany: Ludwig Forum fur Internationale Kunst, 1992.

The Disembodied Spirit. Exh. cat. Bowdoin College Museum, Brunswick, Maine: Bowdoin College, 2003.

Display: International Exhibition of Painting. Exh. cat. Ed. Mikael Anderson. Copenhagen: The Charlottenborg Exhibition Hall, 1997.

Disparities & Deformations: Our Grotesque. Exh. Cat. Santa Fe, New Mexico: SITE Santa Fe Fifth International Biennial, 2004. Essay and text by Robert Storr.

Distemper: Dissonant Themes in the Art of the 1990s. Exh. cat. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1996.

Documenta IX. 3 volumes. Exh. cat. Eds. Roland Nachtigaller and Nicola von Velsen. Stuttgart, Germany: Edition Cantz; New York: Harry N. Abrams, 1992.

Documenta X. Exh. cat. Stuttgart, Germany: Edition Cantz, 1997.

Documenta X – the book. Exh. cat. Eds. Bernhard Balkenhol and Heiner Georgsdorf. Kassel: Universitat Gesamthochschule, 1998.

Do it. Exh. booklet. Klagenfurt, Austria: Hermann Gmeinerstrasse, 1996.

Do it. Exh. booklet. Australia: Lawrence Wilson Art Gallery, The University of Western Australia, 2001.

Do it (Chinese Edition). Ed. Hans Ulrich Obrist and Hu Fang. Shanghai: Shanghai Literature and Art Publishing House, 2007.

Do it : Volume I. Exh cat. Ed. Hans Ulrich Obrist. New York: E-flux; Frankfurt: Revolver Archiv für aktuelle kunst, 2004

Dolls in Contemporary Art: A Metaphor of Personal Identity. Exh. cat. Ed. Curtis L. Carter. Milwaukee: Marquette University, 1993.

Domain. Exh. cat. Ed. Denys Zacharopoulos. Bignan: Le Domain de Kerguehennec, Centre d’art, 1993.

Don’t Look Now. Exh. cat. Ed. Joshua Decter. New York: Thread Waxing Space, 1994.

Doubletake: Collective Memory and Current Art. Exh. cat. Ed. Lynne Cooke, Bice Curiger, and Greg Hilty. London: Hayward Gallery, 1992.

Drawing: Reaffirming the Media. Exh. cat. Kansas City: Gallery of Art, University of Missouri, 1994.

Drawings Acquisitions 1980-91. Exh. cat. New York: Whitney Museum of American Art, 1991.

Dreamlands. Exh cat. Text by Didier Ottinger, et al. Paris: Centre Pompidou, 2010.

Educational Complex. Exh. cat. Eds. Sabine Breitwieser and Lindsay Anderson. Vienna: Generali Foundation, 1997.

Educational Complex Onwards (1995-2008). Exh. cat. Ed. Anne Pontégnie. Wiels: JRP Ringier.

The 80s: A Topology. Exh cat. Ed. Ulrich Loock. Porto: Museu de Arte Contempranea de Serralves, 2006.

Emotion: Junge britische and amerikanische Kunst aus der Sammlung Goetz. Exh. cat. Hamburg: Deichtorhallen Hamburg, 1998.

Engel:Engel. Exh. cat. Vienna: Kunsthalle Wien, 1997.

Eerste hulp bij tekeningen. Exh. cat. Suzanna Heman and Rixt Hulshoff Pol. Amsterdam: Stedelijk Museum, 2008.

Everything’s Coming Up Sock Monkeys! (The Art and Business of the American Sock Monkey). B.K. Connelly. New York: In My Own Dream Publishing, 2006.

Everything That’s Interesting Is New. Exh. cat. Ed. Jeffrey Deitch. Athens, Greece: DESTE Foundation for the Arts, 1996.

Exhibition: Tenth Anniversary. Exh. cat. Valencia: California Institute of the Arts, 1981.

Expanded Art, II. Exh. cat. Ed. Dr. Cathrin Pichler. Vienna: Wiener Fest Wochen, 1992.

Explorations 1983-84. Exh. booklet. Valencia: California Institute of the Arts, 1984.

Eye Infection. Exh. cat. Amsterdam: Stedelijk Museum, 2001.

FACE/OFF: Im Körper des Feindes… Exh. cat. Ed. Robert Eikmeyer. Frankfurt: Revolver Archiv für aktuelle kunst, 2004.

Faces and Figures (Revisited): Contemporary Works on Paper from the 1960s to Today. Exh. cat. Eds. Marc Jancou and Justin Lieberman. Zurich: JRP Ringier, 2008.

Falsa Innocencia Falsa Inocencia False Innocence. Exh. cat. Ed. Victoria Izquierdo Brichs. Barcelona: Fundació Joan Miró, 2003.

Family Values: American Art in the Eighties and Nineties. Exh. cat. Hamburg, Germany: Galerie der Gegenwart, Kunsthalle, in association with Cantz Verlag, 1996.

Fast Forward Media Art Sammlung Goetz. Exh. cat. Eds. Ingvild Goetz and Stephen Urbaschek. Munich: Kunstverlag Ingvild Goetz G.m.b.H., 2003.

Fast Forward 2: The Power of Motion Media Art Sammlung Goetz. Exh. cat. Eds. Stephan Urbaschek and Engvild Goetz. Ostfildern: Hatje Cantz, 2010.

First Step…Towards a Collection of Western Contemporary Art. Exh. cat. Eds. Kay Heimer and Hanne Tonger-Erk. Essen: Niessen GmbH, 2008. Translated from Polish, see “Pierwszy Krok.”

Feminimasculin: Le sexe de l’art. Exh. cat. Paris: Centre Georges Pompidou, 1996.

The Fifth Biennale of Sydney—Private Symbol: Social Metaphor. Exh. cat. Ed. Stuart Morgan, et al. Sydney, Australia: The Art Gallery of New South Wales, 1984.

50 especes d’espaces: oeuvres du Centre Georges Pompidou, Musée national d’art moderne. Exh. cat. Marseille: Musées de Marseille.

Filling in the Gap. Exh. brochure. Ed. Saul Ostrow. Chicago: Feigen, 1989.

The First Newport Biennial: Los Angeles Today. Exh. cat. Newport Beach, California: Newport Harbor Art Museum, 1984. Essays by Timothy Martin and Benjamin Weissman.

The First Show: Painting and Sculpture from Eight Collections 1940-1980. Exh. cat. Los Angeles: Museum of Contemporary Art, 1983.

The First Valencià Biennial/Communication Between the Arts: The Passions. Exh. cat. Valencià: IVAM-Institut Valencià d’Art Modern, 2001.

For What You Are About to Receive. Exh. cat. Ed. Alison McDonald. Germany: Gagosian Gallery, 2008.

A Forest of Signs: Art in the Crisis of Representation. Exh. cat. Eds. Ann Goldstein, Mary Jane Jacob, and Howard Singerman. Los Angeles: Museum of Contemporary Art, 1989.

Formless, A User’s Guide. Eds. Yve-Alain Bois and Rosalind E. Krauss. New York: Zone Books, 1997.

Fort! Da! Cooperations. Exh. cat. Ed. Renata Damsch-Wiehager. Stuttgart, Germany: Villa Merkel Galerie der Stadt Esslingen, 1997.

40 ans: Galerie Daniel Templon. Paris: Communic’art, 2006.

Foto.Kunst. Exh. cat. Eds. Lucie Binder-Sabha and Sylvia Köpf. Klosterneuburg: Edition Sammlung Essl, 2007.

Fourteenth World Wide Video Festival, 1996. Exh. cat. The Hague: Stichting World Wide Video Centre, 1996.

The 43rd Biennale of Venice, Aperto ’88. Exh. cat. Milan: Fabbri Editori, 1988.

Friedrich Christian Flick Collection im Hamburger Bahnhof. Exh. cat. Berlin, Germany: Hamburger Bahnhof–Museum für Gegenwart, Verlag SMB–Dumont, 2004.

Goetz Meets Falckenberg. Exh. cat. Hamburg-Harburg: Kulturstiftung Phoenix Art, 2005.

Gothic. Exh. cat. Boston: Institute of Contemporary Art, 1997.

The Gothic. Ed. Gilda Williams. Documents of Contemporary Art Series. London: Whitechapel Ventures Limited; Cambridge: MIT Press, 2007.

Graz 1988. Exh. cat. Graz, Austria: Kunstverein, 1988. Essays by Edward Limonov, Viktor Misiano, Anda Rottenberg, et al.

The Greatest Album Covers of All Time. By Barry Miles, Grant Scott, and Johnny Morgan. London: Collins and Brown, 2005.

Groei: In de Collectie Peter Stuyvesant. Exh. cat. Amsterdam: Rothmans International European Headquarters, 1997.

Guggenheim Museum Collection A to Z. Ed. Nancy Spector. New York: Guggenheim Museum Publications, 2001.

Guys Who Sew. Exh. booklet. Santa Barbara: University Art Museum, University of California, 1994.

Headhunters. Exh. brochure. Los Angeles: Los Angeles Contemporary Exhibitions, 1986. Essay by Timothy Martin.

Heart in Mouth. Exh. booklet. Eds. Sue Spaid and Nick Taggart. Los Angeles: Fahey/Klein Gallery, 1990.

Helter Skelter: L.A. Art in the 1990s. Exh. cat. Ed. Catherine Gudis. Los Angeles: Museum of Contemporary Art, 1992.

Heinz and Marianna Ebers Foundation. Exh. cat. Ed. Martin Hentschel. Bielefeld, Germany: Kerber, 2011.

Holy Inspiration Religion and Spirituality in Modern Art. Exh. cat. Ed. Marty Bax. Amsterdam: Museum Shop Die Neiuwe Kerk, Heleem van Ketwich Verschuur, 2008.

Home Sweet Home. Exh. cat. Ed. Zdenek Felix. Hamburg, Germany: Diechtorhallen, 1997.

Hors limites: L’art et la vie. Exh. cat. Paris: Centre Georges Pompidou, 1994.

Im Anfang War das Wort. Exh. cat. Munich: Haus der Kunst, 2006.

Individual Realities. Exh. cat. Tokyo: Sezon Museum of Art, 1991.

Individuals: A Selected History of Contemporary Art, 1945-1986. Exh. cat. Ed. Julia Brown Turrell. Los Angeles: Museum of Contemporary Art, 1986.

Insiders. Exh. cat. Bordeaux: Arc en Rêve Centre d’Architecture CAPC Museé d’Art Contemporain, Bordeaux, France: 2009.

Into Me/Out of Me. Exh. cat. Ed. Klaus Biesenbach. Ostfildern: Hatje Cantz Verlag, 2007.

Inventory: Works from the Herbert Collection. Exh. cat. Graz: Kunsthaus Graz am Landesmuseum Joanneum, 2006.

Les Enfants Terrible: Il linguaggio dell’infanzia nell’Arte 1909-2004. Exh. cat. Lugano, Italy: Museo Cantonale di Lugano, 2004.

L’informe: Le modernisme a rebours. Exh. cat. Paris: Centre Georges Pompidou, 1996.

The Luminous Interval. Exh. cat. New York: Simon R. Guggenheim Foundation, 2011.

In Search of Self. Exh. cat. Durham, North Carolina: University Museum of Art, 1993.

Is It Art?: Transgressions in Contemporary Art. Exh. cat. Virginia: Virginia Beach Center for the Arts, 1995.

It’s Only Rock and Roll: Rock and Roll Currents in Contemporary Art. Exh. cat. Ed. David Rubin. Cincinnati, Ohio: Contemporary Arts Center, 1996.

Jackson Pollock: und die Malerei nach der Organisation der Malerei. By Udo Kittelmann. Baden-Baden, Germany: Sammlung Frieder Burda and StaatlicheKunsthalle Baden-Baden.

Jahresgaben 04/05 Kunstverein Braunschweig. Exh. and Sale cat. Braunschweig, Germany: Kunstverein Braunschweig, 2004.

Jedermann Collection – Set 5 from the Fotomuseum Winterthur Collection. Exh cat. Ed: Miriam Wiesel, et al. Zurich: Fotomuseum Winterthur, 2008.

El jardin salvaje. Exh. cat. Ed. Dan Cameron. Madrid, Spain: Fundacion Caja de Pensiones, 1991.

The Judith Rothschild Foundation Contemporary Drawings Collection: Catalogue Raisonné. Ed. Christian Rattemeyer. New York: Museum of Modern Art, 2009.

Just Love Me: Post /Feminist Positions of the 1990s from the Goetz Collection. Exh. cat. Eds. Rainald Schumacher and Matthias Winzen. Köln: Verlag Der Buchhandlung Walter König, 2003.

Just Pathetic. Exh. cat. Ed. Ralph Rugoff. Los Angeles: Rosamund Felsen Gallery, 1990.

Just What Is It That Makes Today’s Homes So Different, So Appealing? Exh. cat. Ed. Dan Cameron. Glen Falls, New York: The Hyde Collection, 1991.

Knowledge: Aspects of Conceptual Art. Exh. cat. Eds. Francis Colpitt and Phyllis Plous. Santa Barbara: University Art Museum, University of California, 1992.

Kunst Aus Los Angeles der 60er bis 90er Jahre. Exh. Cat. Braunschweig, Germany: Kunstverein Braunschweig, 2007.

Künstler: Kritisches Lexikon de Gegenwartskunst. Eds. Lothar Romain and Dr. Ivo Ktanzfelder. Munchen: Verlage Weltkunst and Bruckman, 2000. Essay by Yves Cohn-Thibault.

KunstlerInnen: 50 Gesprache. Exh. cat. Vienna: Kunsthaus Bregenz, 1997.

Kustom Kulture. Exh. cat. Laguna Beach, California: Laguna Art Museum, 1993.

L.A. Artland: Contemporary Art from Los Angeles. Eds. Chris Kraus, Jan Tumlir, and Jane McFadden. London: Black Dog Publishing, 2005.

L.A. Hot and Cool: The Eighties. Exh. cat. Ed. Dana Friis-Hansen, et al. Cambridge: List Center for the Visual Arts, Massachusetts Institute of Technology, 1987.

La Invención de Lo Cotidiano (The Practice of Everyday Life). Exh cat. Mexico City: Museo Nacional de Arte: 2009.

Laid Bare. Exh. cat. In Hot Rod 17 (Oslo, Norway: 2002).

Laying Low: Postminimalist/Scatter Art. Exh. cat. Oslo, Norway: Kunstnernes Hus, 1997.

LAX. Exh. cat. Vienna: Galerie Krinzinger, 1992.

Le desenchantment du monde. Exh. cat. Ed. Christian Bernard. Nice, France: Centre national d’art contemporain, Villa Arson, 1990.

Lieux communs, figures singulieres. Exh. cat. Paris: Musée d’art moderne de la ville de Paris, 1991.

Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the Museum of Contemporary Art, Chicago, Collection. Ed. Elizabeth A.T. Smith. Chicago: Museum of Contemporary Art, Chicago, 2002.

Life on Mars. Exh. cat. Ed. Douglas Fogle. Pittsburgh: Carnegie Museum of Art, 2008.

Likeness: Portraits of Artists by Other Artists. Exh. cat. Eds. Matthew Higgs, Kevin Killian, and David Robbins. New York: Independent Curators International, 2004.

L’Immagine Riflessa. Exh. cat. Switzerland: Centro per l’Arte Contemporanea Luigi Pecci, 1995.

Lost and Found in California: Four Decades of Assemblage Art. The Second Generation: The Narrative 1957-1987. Exh. cat. Santa Monica, California: James Corcoran Gallery and The Pence Gallery, 1988.

Lotte or the Transformation of the Object. Exh. cat. Ed. Clementine Deliss. Graz, Austria: Kunstverein, 1990.

Love Hotel. Exh. brochure. Canberra: National Gallery Of Australia, 1997.

MACBA Collection 1: Itinerary. Ex. cat. Barcelona: Museu d’Art Contemporani de Barcelona, 2002.

Made in California: Art, Image, and Identity 1900-2000. Exh. cat. Eds. Stephanie Barron, Sheri Bernstein, and Ilene Susan Fort. Los Angeles: Los Angeles County Museum of Art; Berkeley, Los Angeles, London: University of California Press, 2000.

Magasin 1986-2006. Ed. Yves Aupetitallot. Grenoble: Le Magasin-Centre National d’Art Contemporain, Zurich: JRP/Ringier, 2005.

Magritte and Contemporary Art: The Treachery of Images. Exh. Cat. Los Angeles: Los Angeles Contemporary Museum of Art, 2006/07.

Make Your Own Life: Artists In and Out of Cologne. Exh. cat. Ed. Bennett Simpson. Phiadelphia: Institute of Contemporary Art, University of Pennsylvania, 2006.

Making It Real. Exh. cat. Ridgefield, Connecticut: The Aldrich Museum of Contemporary Art, 1997.

Many Colored Objects Placed Side by Side to Form a Row of Many Colored Objects. Exh. cat. Luxembourg: Casino Luxembourg, 2000.

Mapping the Studio: Artists from the Francois Pinault Collection. Ed. Alison Gingeras. Exh.cat. Venice: Palazzo Grassi Spa, 2009.

Martian Museum of Terrestrial Art. Ed. Francesco Manacorda, Lydia Yee and Corrina Gardner. Exh. cat. London: Merrell, 2008.

Masterpieces: CAPC Musée d’art contemporain de Bordeaux. Ed. Louis Nègre, et al. Bordeaux: Cinq Sens, 2007.

Micropolitics: Art and Everyday Life (2001-1968). Exh. cat. Ed. Juan Vicente Aliaga, et al. Valenciana, Spain: Espai d’Art Contemporani de Castelló, 2002.

Mike Kelley. Exh. cat. Ed. Karsten Löckemann and Stephan Urbaschek. Munich: Kunstverlag Ingvild Goetz: 2008.

Mike Kelley: 1975-1994 Works. Exh cat. Ed. Richard Slovak. Text by Justin Lieberman. Verona: EBS, 2006.

Mike Kelley & Peter Fischli and David Weiss. Ed. Rainald Schumacher. Exh. cat. Munich: Ingvild Goetz, 2000.

Milk and Melancholy. Kenneth Hayes. Toronto: Prefix Museum of Contemporary Art, 2008.

Metropolis: International Art Exhibition Berlin 1991. Exh. cat. Eds. Christos M. Joachamides and Norman Rosenthal. Berlin: Martin-Gropius-Bau, 1991.

Mixed-Up Childhood. Exh Cat. Eds. Janita Craw and Robert Leonard. Auckland: Auckland Art Gallery, 2005.

Modern and Contemporary Master Drawings. Exh. cat. London: Connaught Brown, 2006.

Modern Contemporary: Art at MOMA Since 1980. Exh. cat. Eds. Kirk Varnedoe, Paola Antonelli, and Joshua Siegel. New York: Museum of Modern Art, 2000. In conjunction with the exhibition Open Ends.

MOMA: Highlights since 1980. Ed. Rebecca Roberts. New York: Museum of Modern Art, 2007.

Monument To Now: The Dakis Joannou Collection. Exh. Cat. Ed. Jeffrey Deitch, Curated by Dan Cameron, Jeffrey Deitch, Allison M. Gingeras, Massimiliano Gioni, and Nancy Spector. Athens: DESTE Foundation for Contemporary Art, 2004.

Murder. Exh. cat. Ed. John Yau. Santa Monica, California: Bergamot Station Arts Center and Smart Art Press, 1995.

My Name: Sammlung Falkenberg. Exh. cat. Cologne, Germany: Oktagon, 1999.

Natural Settings. Exh. booklet. Ed. Ned Rifkin. Washington D.C.: The Corcoran Gallery of Art, 1986.

Neue Welt. Exh. cat. Frankfurt, Germany: Frankfurter Kunstverein. 2001.

New Art. Ed. Phyllis Freeman, et al. New York: Harry N. Abrams, 1990.

New Glass Review 29. New York: Corning Museum of Glass, 2008.

New Material As New Media: The Fabric Workshop and Museum. Ed. Marion Boulton Stroud. Cambridge, Massachusetts: MIT Press, 2002.

Networking: Art by Post and Fax. Exh. cat. Ed. Andrew Patrizio. London: Hayward Gallery, 1997.

1985 Biennial Exhibition. Exh. cat. Ed. Richard Armstrong, et al. New York: Whitney Museum of American Art, 1985.

1987 Phoenix Biennial. Exh. booklet. Ed. Bruce D. Kurtz. Arizona: Phoenix Art Museum, 1987.

1989 Biennial Exhibition. Exh. cat. Ed. Richard Armstrong, et al. New York: Whitney Museum of American Art, 1989.

1991 Biennial Exhibition. Exh. cat. Ed. Richard Armstrong, et al. New York: Whitney Museum of American Art, 1991.

1993 Biennial Exhibition. Exh. cat. New York: Whitney Museum of American Art, 1993.

1995 Biennial Exhibition. Exh. cat. New York: Whitney Museum of American Art, 1995.

No. 1: First Works by 362 Artists. Eds. Francesca Richer and Matthew Rozenweig. New York: D.A.P./Distributed Art Publishers, Inc., 2005.

Not Afraid: Rubell Family Collection. New York: Phaidon, 2004.136, 137, 139.

The Not-So-Still-Life. Exh. cat. Susan Landauer, William H. Gerdts, Patricia Trenton. Berkeley and Los Angeles: University of California Press, 2003.

Not to Play with Dead Things. Eric Mangion. Exh. cat. JRP Ringier: 2008. In French, Presses du Réel: 2008.

The Object Sculpture. Exh. Cat. Leeds: Henry Moore Institute, 2002.

Oh Boy, It’s a Girl: Feminismen in der Kunst. Exh. cat. Munich, Germany: Kunstverein, 1994.

Oh! Cet Echo! Exh. cat. Paris: Centre Culturel Suisse, 1993.

On Beauty. Exh. cat. Moscow: Regina Gallery, 1995.

Out of Actions: Between Performance and the Object, 1949-1979. Exh. cat. Los Angeles: Museum of Contemporary Art, 1997.

Out of Actions: Actionism, Body Art and Performance 1949-1979. Exh. cat. Vienna: MAK-Austrian Center for the Applied Arts, Cantz Verlag, Ostfildern; Los Angeles: The Museum of Contemporary Art, 1998.

Out of Actions: Between Performance and the Object, 1949-1979. Exh. cat. Japanese edition. Tokyo: The Museum of Contemporary Art, 1999.

Painting at the Edge of the World. Exh. cat. Minneapolis: Walker Art Center, 2001.

Panic Attack: Art in the Punk Years. Exh. Cat. Eds. Mark Sladen and Ariella Yedgar. London: Barbican Art Gallery, 2007.

Parkett: Collaborations & Editions since 1984. Exh. cat. Zurich: Parkett Publishers, 2001.

Passioniert Provokativ Die Sammlung Stoffel. Exh. cat. Ostfildern: Hatje Cantz, 2008.

Pierwszy Krok (First Step…Towards a Collection of Western Contemporary Art. Exh. cat. Eds. Kay Heimer and Hanne Tonger-Erk. Essen: Niessen GmbH, 2008. Translation in English.

Planet B: The Aesthetics of B-Movies in Contemporary Visual Arts. Exh. cat. Eds. Wolfgang Fetz, Boris Kremer, and Judith Reichart. Bregenz: Palais Thurn & Taxis and Magazin4 Bregenzer Kunstverein, 2004.

Play’s the Thing: Critical and Transgressive Practices in Contemporary Art. Exh. Booklet. New York: Whitney Museum of American Art Independent Study Program, 2001.

Playtime: Artists and Toys. Exh. cat. Stamford, Connecticut: Whitney Museum of American Art at Champion, 1995.

Poetic Resemblance. Exh. cat. Ed. Barbara Broughel. Buffalo, New York: Hallwalls, 1986.

Post Human. Exh. cat. Ed. Jeffrey Deitch. Lausanne, Switzerland: Musée d’art contemporain, 1992.

Portikus Frankfurt am Main 1987-1997. Ed. Brigitte Kolle. Frankfurt: Portikus, 1997.

Power to the Imagination: Artists, Posters and Politics. Ed. Jürgen Döring. Munich: Hirmer Verlag, 2011.

Presenting Rearwards. Exh. cat. Ed. Ralph Rugoff. Los Angeles: Rosamund Felsen Gallery, 1991.

Presumed Innocence. Exh. cat. Ed. Jean Crutchfield. Virginia: Anderson Gallery School of Fine Arts, 1997.

Private View: 1980-2000: Collection Pierre Huber. Exh. Cat. Ed. Yves Aupetitallot. Lausanne: Musée cantonal des Beaus-Arts de Lausanne, 2005.

Prospect 89: Eine Internationale Ausstellung aktueller Kunst. Exh. cat. Frankfurt: Kunstverein, 1989.

Punk Picasso. By Larry Clark. New York: Roth Horowitz, PPP Editions and AKA Editions, 2004. Interview with Larry Clark.

The Puppet Show. Exh. cat. Text by Ingrid Schaffner, Carin Kuoni, Michael Taylor, et al. Ed. Ingrid Schaffner and Carin Kuoni. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2008.

Qui a peur des artistes? Exh. cat. Ed. Caroline Bourgeois. Paris: Palais des Arts et du Festival of Dinard, 2009.

Radical Scavenger(s): The Conceptual Vernacular in Recent American Art. Exh. cat. Chicago: Museum of Contemporary Art, 1994.

The Return of The Cadavre Exquis. Exh. cat. Ed. Jane Philbrick. New York: The Drawing Center, 1993.

Re: Framing Cartoons. Exh. booklet. Columbus, Ohio: Wexner Center for the Arts, 1992.

Re: Framing Cartoons. Exh. cat. New York: Loughelton Gallery, 1990.

Regift. Exh booklet. Ed. Gianni Jetzer. New York: Swiss Institute Contemporary Arts, 2009.

Retorn al País del les Meravelles: L’ art contemporani i la infància. Exh. cat. Barcelona: Fundació “la Caixa”, 2001.

Robert Gober, On Kawara, Mike Kelley, Martin Kippenberger, Jeff Koons, Albert Oehlen, Julian Schnabel, Cindy Sherman,Thomas Struth, Philip Taaffe, Christopher Wool. Exh. cat. Eds. Jean-Christoph Amman and Jerry Saltz. Cologne: Galerie Max Hetzler, 1992.

Rock – Paper – Scissors: Pop Music as Subject of Visual Art. Exh. cat. Christian Höller, et al. Graz: Kunsthaus Graz am Landemuseum Joanneum, 2009.

Rooseum 1988-1998. Eds. Jaana Jarretorp and Ulrike Leven. Malmö, Sweden: Rooseum Center for Contemporary Art, 1998.

Scene of the Crime. Exh. cat. Eds. Anthony Vidler and Peter Wallen. Los Angeles: UCLA at The Armand Hammer Museum of Art and Cultural Center, 1997.

The Shanghai Papers. Eds. Annette W. Balkema, Li Nang, and Xiang Liping. Osfildern: Hate Cantz, 2008.

Signal Approach. Exh. booklet. Toronto: The Funnel, 1984.

Signos y Milagros. Exh. cat. Ed. Bice Curiger. Galego, Spain: Centro Galego de Arte Contemporanea, 1995.

Silent and Violent: Selected Artists’ Editions. Exh. cat. Ed. Peter Noever. Zurich, Frankfurt, New York: Parkett Publishers; Vienna: MAK-Austrian Center for the Applied Arts, 1995. Published on the occasion of the exhibition at the MAK Center for Art and Architecture, Los Angeles.

Slightly Unbalanced. Exh. cat. Ed. Stephen Robert Frankel. Essays by Susan Hapgood and Susan M. Andersen. New York: iCI, 2008.

Someone Else with My Fingerprints. Exh. cat. Ed. Wilhelm Schurman. Cologne: Salon Verlag, 1997.

Sonic Process: Une nouvelle géographie des sons. Exh. cat. Paris: Centre Georges Pompidou Editions, 2002.

Sonic Process: A New Geography of Sounds. Exh. cat. Barcelona: Museu d’Art Contemporani de Barcelona, 2002.

Sonsbeek 93. Exh. cat. Eds. Jan Brand, Catelejne de Muynck, and Valerie Smith. Arnhem, The Netherlands: International Art Exhibition Sonsbeek, 1993.

Sound. Exh. cat. Los Angeles: Los Angeles Institute for Contemporary Art; Long Island City, New York: P.S. 1 Contemporary Art Center, Institute for Art and Urban Resources, 1979.

Sound Art: Beyond Music, Between Categories. Alan Licht. New York: Rizzoli International Publications, 2007.

The Spectacular Vernacular. Texts by Darsie Alexander, Andy Sturdevant, and John Brinckerhoff Jackson. New York: Distributed Art Publishers, 2001.

Spectrum: Natural Settings. Exh. booklet. Washington, D.C.: The Corcoran Gallery of Art, 1986.

Spirit of Our Time. Exh. cat. Santa Barbara, California: Contemporary Arts Forum, 1990.

Stained Sheets / Holy Shroud. Exh. cat. Santa Monica, California: Krygier / Landau Contemporary Art, 1990.

Sunshine & Noir. Exh. cat. Humlebaek, Denmark: Lousiana Museum of Modern Art, 1997.

Sympathy for the Devil: Art and Rock and Roll Since 1967. Exh. cat. New Haven: Yale University Press, 2007.

Taschen Collection. Exh. cat. Madrid, Spain: Museo Nacional Centro de Arte Reina Sofia, 2004.

Telle est la Télé: L’art contemporain et la television. By Benjamin Thorel. Paris: Imaginaire: Mode D’Emploi/Editions Cercle d’Art, Salon du livre, 2007

A Theater Without Theater. Exh. cat. Ed. Clara Plasencia. Barcelona: Museu d’Art Contemporani de Barcelona, 2007. Translated in Spanish and Catalan.

Thinking Print: Books To Billboards, 1980-95. Exh. cat. New York: Museum of Modern Art, 1996.

This is Not to be Looked At: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angeles. Ed. Elizabeth Hamilton. Essays by Ann Goldstein, Rebecca Morse, and Paul Schimmel. Los Angeles: The Museum of Contemporary Art, 2008.

Toyama Now ’87. Exh. cat. Toyoma, Japan: Museum of Modern Art, 1987.

Transformers: The Art of Multiphrenia. Exh. cat. Ed. Ralph Rugoff. New York: Independent Curators Incorporated; Annandale-on-Hudson, New York: Center for Cultural Studies, Bard College, 1995.

Translation. Exh. Cat. Paris: Palais de Tokyo in conjucnction with The Deste Foundation Center for Contemporary Art, Athens, 2006.

“Un Certain Etat du Monde? (A Certain State of the World?): A Selection of Works from the Francois Pinault Foundation. Exh. cat. Ed. Francesco Baragiola. London: Thames and Hudson, 2009.

The Unhomely: Phantom Scenes in Global Society. Exh. cat. Ed. Okwui Enwezor. Seville, Spain: 2nd International Biennial of Contemporary Art of Seville, 2006.

Uniform Order and Disorder. Exh. cat. Eds. Francesco Bonami, Maria Luisa Frisa, and Stephano Tonchi. Milan: Edizioni Charta, 2000.

Uber Leben. Exh. cat. Ed. Annie Pohlen. Bonn, Germany: Kunstverein, 1994.

The Use of Pleasure. Exh. cat. San Francisco: Terrain Gallery, 1994.

Veronica’s Revenge: Contemporary Perspectives on Photography. Ed. Elizabeth Janus. New York: Scalo Editions,1998.

Video Acts: Single Channel Works from the Collection of Pamela and Richard Kramlich and New Art Trust. Exh. cat. Eds. Klaus Biesenbach, Anthony Huberman, and Amy Smith. Long Island City, New York: P.S.1 Contemporary Art Center, 2002.

“The Lannan Collection.” Museum Studies (Art Institute of Chicago) 25.1 (2000).

Warped Space. Anthony Vidler. Cambridge: MIT Press, 2000.

What is Contemporary Art? Exh. cat. Ed. Dan Cameron, et al. Malmö, Sweden: Rooseum Center for Contemporary Art, 1989.

Where Are We Going?: Selections from the François Pinault collection, Exh. cat. Ed. Alison M. Gingeras and Jack Bankowsky. Milan: Skira, 2006. Translations in Italian, French and German.

White: Whiteness and Race in Contemporary Art (Issues in Cultural Theory 7). Exh. cat. Ed. Maurice Berger. Baltimore: Center for Art and Visual Culture, University of Maryland, 2004.

Whitney Biennial 2002. Exh. cat. New York: Whitney Museum of American Art, 2002.

Whitney Museum of American Art at Altria: 25 Years. Ed. Eth Huseman. New Haven: Yale University Press, 2008.

Who Am I? What Am I? Where Am I? Aura Rosenberg. Ostfildern: Hatje Cantz, 2008.

Without Boundary. Exh. cat. New York: Museum of Modern Art, 2006.

Word as Image: American Art 1960-1990. Exh. cat. Wisconsin: Milwaukee Art Museum, 1990.

A World History of Art. 6th ed. Eds. Hugh Honour and John Fleming. London: Laurence King Publishing, 2002. 902-3.

WOW: The Work of the Work. Exh cat. Seattle, Washington: Henry Art Gallery, University of Washington, 2004. Essay by Elizabeth A. Brown.

Yokohama Triennale 2008; Time Crevasse. Exh. cat. Eds. Mikami Yutaka, Hemmi Kai, et al. Tokyo: The Organizing Committee for the Yokohama Triennale, 2008.

Zeichen & Wunder. Exh. cat. Ed. Bice Curiger. Zurich: Kunsthaus, 1995.

ZwischenZonen: La Colección Jumex, Mexiko. Ed. Marco Antonio Hernández and Samuel Morales. Mexico: Colección Jumex, 2010.

REVIEWS AND ARTICLES

 

2011

Black, Ezrha Jean. “Mike Kelley: Gagosian Gallery, Beverly Hills. Artillery 5.4 (Mar/Apr 2011): 70-71.

Drohojowska-Philp, Hunter. “Mike Kelley: Superman’s Harem.” Artnet, Jan 28 2011: np.

Hoffmans, Christiane. “Endzeitstimmung im Einweckglas.” Welt am Sonntag 13 (Germany) 27 Mar 2011: np.

Knight, Christopher. “Arts review: Mike Kelley at Gagosian Gallery.” Los Angeles Times, Jan 20 2011: np.

Stadel, Stephanie. “Supermans Trauma.” K.West (Germany) 04 April 2011: 18-20.

 

2010

Bankowsky, Jack. “Best of 2010.” Rev. of Judson Church Horse Dance. Artforum. 49.4: 205

Bedford, Christopher. “Mike Kelley: Museum of Contemporary Art Detroit.” Rev. of Mobile Homestead. Artforum. 49.4: 262-263.

Brobeck, Catherine. “West of Rome’s Benefit, Featuring Furries, Bibs, and LA’s Art World Bigwigs.” PaperMag.com, July 30, 2010.

Ellegood, Anne. “The Exquisite Corpse is Alive and Well.” Tate Etc. 18 (Spring 2010): 72-79.

Grabner, Michelle. “Mike Kelley and Michael Smith: A Voyage of Growth and Discovery.” X-tra 12.3: 49-53.

Harvey, Doug. “Baby Ain’t Got Back (Yet): Mike Kelley and Baby Ikki wander the desert of the real.” LA Weekly June 25-July 1: 43.

Hirsch, Faye. “Review: Michael Smith and Mike Kelley at Sculpture Center.” Art in America. Nov 2009: np.

Knight, Christopher. “Art Review: Michael Smith & Mike Kelley @ West of Rome,” Los Angeles Times 10 June 2010: np.

Lebowitz, Cathy. “Kelley, Dunham, Breuning.” Lacanian Ink 35: 162-171.

Le Feuvre. Lisa. “If at First You Don’t Succeed… Celebrate.” Tate Etc. 18 (Spring 2010): 31-37.

Levine, Cary. “Manly Crafts: Mike Kelley’s (Oxy)Moronic Gender Bending,” CAA Art Journal 69.1-2 (Spring-Summer 2010): 74-91.

Lopez, Ruth. “Mike Kelley Goes Home Again.” Rev. of Mobile Homestead. The Art Newspaper. October 11, 2010. www.thertsnewspaper.com

Mandl, Dave. “PERFORMA.” Rev. of “A Fantastic World Superimposed on Reality: A Select History of Experimental Music.” Wire 311 (Jan 2010): 80.

Nickas, Bob. “Traces of Soho Past.” Vice 17.3: 74-81.

Plagens, Peter. “Production Values,” Rev. of Horizontal Tacking Shots. Art in America. January 2010: 41-42.

Taft, Catherine. “Growing Pains” Rev. of West of Rome Art Benefit. Artforum.com, August 3, 2010. <www.artforum.com>

Velasco, David. “Dance: Best of 2010.” Rev. of Judson Church Horse Dance. Artforum. 49.4 (December 2010): 69.

“Mike Kelley and Baby Ikki go to Burning Man.” For Your Art. 3.2 (Apr-May 2010): 6-7.

“Top Ten.” Rev. of Day is Done Judson Church Horse Dance. Artforum. 48.8 (April 2010): 95.

 

2009

Acevedo, Carla. “New York: Michael Smith and Mike Kelley at Sculpture Center.” DaWire 20 Sept 2009: np. <www.dawire.com>

Adolphe, Jean-Marc. “L’école de tous les savoirs.” Mouvement 53 (Oct-Dec 2009): 106.

Bors, Chris. “Mike Kelley and Micahel Smith: A Voyage of Growth and Discovery.” ArtReview Dec 2009: np. <www.artreview.com>

Diedrich Diederichsen. “Polyphilo’s Dream.” Freize 122 (Apr 2009): 90.

Ed., “The Power 100,” Art Review, November 2009, p. 88.

Goldstein, Andrew. “Recession-Addled Art World Weighs Return to Barter System at Group Show.” Rev. of Regift. New York Magazine 18 Feb 2009: np.

Groys, Boris. “Postproduction Berlin.” Lettre International 86: 38.

Guillaume Leingre. “Détruire Tous Les Monstres: Mike Kelley et la photographie.” M19 0.3: 98-127.

Jahn, Jeff. “Mike Kelley and Michael Smith at Sculpture Center.” PORT Portland Art News 21 Sept 2009: np. <www.portlandart.net/archives/2009/09/mike_kelley_and.html>

Johnson, Ken. “Those are Grown-Up Laughs for a Big Baby.” The New York Times 17 Sept 2009: np.

Johnson, Paddy. “Man Dresses Like Baby at Burning Man, No One Shocked.” Rev. of “A Voyage of Growth and Discovery.” The L Magazine 28 Sept 2009: np.

Kocken, Oscar. “Oog in Oog.” Mister Motley 23 nd: 66-67.

Konigsburg, Eric. “Culture Warriors’ (Serious) Fun House.” The New York Times 27 Sept 2009: A8.

Licht, Alan. “Mike Kelley and Michael Smith.” Rev. of A Voyage of Growth and Discovery. Artforum Dec 2009: 220-223.

McLaren, Malcolm. “The Diary: Malcom McLaren.” Rev. of A Voyage of Growth and Discovery. 26 Sept 2009: np. <www.ft.com>

Moniot, Marie-Adele. “Mike Kelley and Michael Smith.” Rev. of A Voyage of Growth and Discovery. Art Lies 64 Winter 2009: 104.

Neset, Anne Hilde. “Performa 09: Atrocity Exhibition.” Wire: Adventures in Modern Music nd: np.

Rickels, Laurence A. “Lonely Ghosts: On the Sense and Direction of “Reenactment.” Texte Zur Kunst 17 76 (December 2009): 68-82. Printed in English: 119-126.

Schachinger, Christian. “Pornos in der Hüpfburg.” Der Standard Online 25 July 2009: np.

Schmid, Michael. “Pop hat sich su Tode gesiegt.” FM4 Online. 7 July 2009: np.

Scott, Andrea K. “Baby’s on fire.” The New Yorker. 26 Oct 2009: np.

Smith, Roberta. “Performa 09: Mike Kelley’s Extracurricular Activity.” New York Times ArtsBeat. 19 Nov 2009: np.

Stern, Steven. “Mike Kelley & Michael Smith.” Rev. of A Voyage of Growth and Discovery. Freize. 12 Sept 2009: np.

Yablonsky, Linda. “Performa 09: Double Trouble.” New York Times ArtsBeat. 20 Nov 2009: np.+

 

2008

Fleming, Marnie. “Marnie Fleming on Mike Kelley’s Kandors.” Prefix Photo 9:2: 42-45.

Fontana, Emi. “All Together Now: “The Baby” al Burning Man.” Rev. of Mike Smith and Mike Kelley performance at Burning Man. Rolling Stone (Italy) December 2008.

Knight, Christopher. “Tale of the Tape.” Rev. of California Video. Los Angeles Times 18 Mar 2008: E1.

Knight, Christopher. “Extraterrestrial Earthlings find ‘Life.’ Rev. of Life on Mars: Carnegie Museum 55th International. Los Angeles Times 7 May 2008. E:1, 6.

Musial, Patrycie. Krakow Gazeta. Rev. of Kandors. Oct 4 2008: 13.

Pontégnie, Anne. “Mike Kelley.” Beaux Arts Éditions, Que’st-ce que L’art Vidéo Aujourd’hui. 2008: 24-25, 128-129.

Schlaegel, Andreas. “Supermans Sehnsucht.” Rev. of Kandors, Kandor-Con 2000. Spike 14.4 (Winter 2007): 104.

Shaw, Kurt. “Out of this world.” Rev. of Life on Mars. Pittsburgh Tribune-Review. 1 May 2008.

Styrie, Hanna. “Blubbernder Heimatplanet.” Rev. of Kandors. Kölnische Rundschau 21 May 2008: 42.

Trembley, Nicholas. “Strange Brew.” Rev. of Educational Complex Onwards 1995-2008 opening. Artforum. Apr 14 2008: np.

Rottmann, André. “Mike Kelley.” Rev. of Kandors. Artforum 46.5 (Jan. 2008).

Yablonksy, Linda. “Ready Maid.” Rev. of Kelley, McCarthy, Nakahara performance. Artforum. Aug 23 2008: np.

Ed. “Archeologie des profondeurs. Autour d’une installation de Mike Kelley.” Rev. of Profodeurs vertes. Cinéma & Cie 10 Spring 2008: 63.

Ed. “The Encyclopedia of Modern & Contemporary Art.” Bijutso Techo 60.4 Apr 2008: 104.

Ed. “Groter dan het leven.” Metropolis M. 4 Aug 2008: 51.

Ed. “Mike Kelley.” Beau Arts Magazine: 128.

Ed. “Mike Kelley.” Rev. of Wako Works of Art: 15 Years / Part IV. EyesCream (Japan) Dec 08: 55.

Ed. “Mike Kelley: Yummy Puffy Mommy Yoni.” Beurs Berichten (Amsterdam) 7 Dec 2008: 10.

 

2007

Ackermann, Tim. “Mike Kelley und Supermans Haimat in Flaschen.” Rev. of Kandors. Welt Online (30 Sept. 2007). <http://www.welt.de/ >

Aichinger, Eric. “Mike Kelley in der Jablonka Galerie: Berlin: Stadt der zukunft von gestern.” Rev. of Kandors. artnet (1 Oct. 2007). <http://www.artnet.de/ >

Allen, Jennifer. “Pleasure and Pain.” Artforum 5 (Oct. 2007). <http://www.artforum.com/>

Balisz, Justyna. “Pamiec Sumpermana.” Rev. of Kandors. Art Eon 92.12 (Winter 2007): 12-13. <www.arteon.pl>

Bartels, Daghild. “Mythos Berlin.” Rev. of Kandors. Parnass Kunstmagazin 27:4 (Nov/Dec 2007): 48.

Bush, Kate. “Provisional Authority: Kate Bush on Skulptur Projekte Munster 07.” Artforum (Sept. 2007): 419-423.

Chang, Chris. “Night Has Come: The Warped Space of Mike Kelley’s Day Is Done.” Rev. of Day Is Done. Film Comment 43.5 (Sept./Oct. 2007): 17.

Draxler, Helmut. “Mike Kelleys Allegorie der Realisierten Demokratie: Partizipative Perversion.” Rev. of Petting Zoo. artnet 4 Sept. 2007. <http://www.artnet.de>.

Duijsens, Florian. “Mike Kelley @ Jablonka Galerie.” Rev. of Kandors. Whitehot Magazine (Berlin) <www.whitehotmagazine.com>

Fisch, Ingrid. “Ausmisten und füttern im Dienste der Kunst.” Rev. of Petting Zoo. Die Glocke 9 May 2007.

Gioni, Massimiliano. “Where the Wild Things Are.” Tate Etc 11 (Fall 2007): 34-39.

Jennen, Manuel. “Skulpturen-Kuh kehrt der Kunst den Rücken zu.” Rev. of Petting Zoo. Münstersche Zeitung 29 June 2007.

Kalitschke, Martin and Lukas Speckmann. “Die Kuh hat die Schnauze voll.” Rev. of Petting Zoo. Münstersche Zeitung 29 June 2007.

Kindel, T. and J. Wachtel. “Austellungs-Kuh ght auf Zuschhauer los.” Rev. of Petting Zoo. BILD 30 June 2007.

Kinney, Tulsa. “No Beauty, No Truth.” Rev. of Day is Done. Artillery 1.4 (Mar. 2007): 17.

Kuhn, Nicola. “Mike vom Jupiter.” Rev. Kandors and Kandor Con 2000. Der Tagesspiegel: 6 Oct 2007: 30.

Liebs, Holger. “Mike Kelley.” Rev. of Kandors. Frieze (Dec. 2007): 192.

Mania, Astrid. “Im Gehirn des Supermänner.” Rev. of Kandors. Von Hundert (Nov. 2007): 3-4

Müller, Markus. “Fortress of Plenitude.” Texte zur Kunst 17.68 (Dec. 2007): 246-249.

Müller, Sabine. “Salzsäule im Streichelzoo: Mike Kelleys Tierpavillon am Bahnhof.” Rev. of Petting Zoo. Münstersche Zeitung 25 May 2007.

Nedo, Kito. “Widerstand zwecklos: Atemberaubend: Mike Kelley und seine Rästel-Shau Kandor.” Rev. of Kandors. Berliner Zeitung 3 Oct 2007: 23.

Orden, Abraham. “Münster Minute.” Rev. of Skulptur Projekte Münster 07. artnet Magazine 25 June 2007 <http://www.artnet.com>.

Schlaegel, Andreas. “Mike Kelley: Jablonka Galerie.” Rev. of Kandors, Kandor-Con 2000). Flash Art (Nov./Dec. 2007): 113.

Singerman, Howard. “Extended Caption to Alfred Barr’s History and Mike Kelley’s Entry Way.” Dot Dot Dot 14 (S as in Sstenographer) (Summer 2007): 62-65.

Smolik, Noemi. “Mike Kelley. Kandors.” Rev. of Kandors. EXIT Express 31 (Nov. 2007): 54

Speckmann, Lukas. “Die Salzsäule ruft: Mike Kelleys Streichelzoo treibt Schabernack mit Frau Lot.” Rev. of Petting Zoo. Westfälische Nachrichten (Münster) 26 June 2007.

Strotdrees, Gisbert. “Die kuh hinter dem Parkhaus.” Rev. of Skulptur Projekt Münster 07. Landwirtschaftliches Wochenblatt. 21 June 2007.

Tieke, Kristina. “Zeitreisen in Münster: Mit Charme und Streichelzoo: Die Skulptur Projekte Münster 07 sind eröffnet.” Rev. of Skulptur Projekt Münster 07. Dewezet 23 June 2007.

Weinger, Erin. “Garden Party.” Rev. of Hammer Museum Gala in the Garden. Angeleno (Dec. 2007): 116.

Werneburg, Brigitte. “Der Superman der Kunst: Mike Kellys ‘Kandors’ in der Jablonka Galerie, Berlin.” Rev. of Kandors. Monopol (Nov. 2007): 116.

Wiensowski, Ingeborg. “Häuser in Krakenform” Rev. of Kandors and Kandor Con 2000. SPIEGEL Online 28 Sept. 2007. <http://www.spiegel.de/>

Willis, Holly. “Variety Show: Mike Kelley’s Day Is Done.” L.A. Weekly 19-25 Jan. 2007: 58-59.

Volk, Gregory. “The Expanded Field: Münster’s Lastest Decade.” Art in America. Oct. 2007: 168-9.

Young, Paul. “A Video Portrait’s Odd Inspiration.” Los Angeles Times 20 Jan. 2007.

“Kuh ist Kunstobjekt: Bünings Tiere sind bei ‘Skulptur-Projekte Münster 2007’ zu sehen.” Westfälische Nachrichten (Münster) 23 June 2007.

“Love of art, fashion on exhibit at Hammer gala.” Los Angeles Times 21 Oct. 2007. <http://www.latimes.com/>

“Vorsicht vor dem Streichelzoo: Köpfe der Skulptur: Mike Kelley” Rev. of Petting Zoo. Westfälische Nachrichten (Münster) 9 May 2007.

 

2006

Allen, Jennifer. “International News Digest: Mike Kelley at the Louvre.” Artforum 11 April 2006. <www.artforum.com>

Aletti Vince. “No-Name Game.” Rev. of Vaseline Muses. The New Yorker. 16 Oct 2006: 16.

Amy, Michaël. “Meike Kelley at Gagosian Gallery.” Tema Celeste Mar. 2006: np.

Bailly, Bérénice and Philippe Dagen. “Les references multiples de Kelley.” Rev. of Profondeurs Vertes. Le Monde 18 June 2006.

Coley, Byron and Thurston Moore. “Bull Tongue: Top 80 (+1) of 2005.” Arthur March 2006: 51. <www.arthurmag.com>

Hainley, Bruce. “Artquake.” The New York Times. 1 Oct 2006. <www.nytimes.com>

Higgs, Matthew and Peter Eleey. “Looking Back at 2005.” Frieze 96 (Jan.-Feb. 2006): 119.

Géniès, Bernard. “Mike Kelley: Agitateur Culturel.” Le Nouvel Observateur 2159.75 23 Mar. 2006: 6-10.

Maine, Stephen. “Mike Kelley at Gagosian Gallery.” Art in America Mar. 2006: np.

Muchnic, Suzanne. “A Peek at Eli Broad’s L.A. Cache.” Los Angeles Times 3 Dec. 2006.

Pennings, Mark. “Gross Out: Day is Done, Mike Kelley.” Eyeline 60. 2006: np.

Pollack, Barbara. “Mike Kelley at Gagosian Gallery.” Rev. of Day is Done. Art News Feb 2006: np.

Rochette, Anne, and Wade Saunders. “Place Matters: Los Angeles Sculpture Today.” Art in America (Nov. 2006): 190-191+.

Roussel, Noëllie. “Elsewhere is Everywhere.” Art Press 332 (Apr. 2006): 34-44.

Stern, Steven. “Tomorrow Never Comes.” Frieze 97 (Mar. 2006): 112-119.

Vidler, Anthony. “Deep Space/Repressed Memory: Mike Kelley’s Educational Complex.” Block 02 (Control) (Summer 2006): 44-55.

Vogel, Carol. “Art Auctions Conclude with A Whimper.” New York Times 17 Nov. 2006.

Ward, Ossian, with J.J.Charlesworth. “The Power 100: 2006.” Art Review 05 (Nov. 2006): 55-137.

Waters, John. “Mike Kelley: You Have Made an Epic!” Flash Art 245 (Nov.-Dec. 2005): 54-58.

Welchman, John C. “Qualities, Being Hidden: John C. Welchman Interviews Mike Kelley.” Bidoun (Arts and Culture from the Middle East) (Fall 2006): 16-120.

Winston, Helena. “Mike Kelley.” Rev. of Day is Done. Art US 12 (Mar.-Apr. 2006): 52.

Zimmerman, Aaron. “Mike Kelley After School.” Zoo 11: np.

 

2005

Chiodi, Stefano. “Arte, la malinconia del campionare.” Alias 6 (Aug. 2005).

Fox, Dan. “All Tomorrow’s Parties.” Rev. of Destroy All Monsters at ‘The Nightmare Before Christmas.’ Frieze (Mar. 2005): 79.

Kimmelman, Michael. “Adults Playing Children’s Scary Games.” New York Times Weekend Arts 25 Nov. 2005: B35+.

Lewis, Jim. “Mike Kelley: The Last Great 20th Century Artist.” Slate.com 30 Nov. 2005 <http://www.slate.com/id/2131218/>.

Mitrovic, Sinisa. “I Am the Wrath of God,” Corvi-Mora 2005.

Roussel, Noëllie. “Das Unheimliche: Le Retour du refoulé chez les mangeurs de mozartkrügein, ou les aventures de Mike Kelley au pays du docteur Sigmund.” We Are Best Friends And We Are In Love And it’s great: Pacemaker 6, 2005

Saltz, Jerry. “Clusterfuck Aesthetics,” The Village Voice. 29 Nov 2005.

Smith, Dan. “London: MOT; I Am the Wrath of God,” Contempart 2005.

Trembley, Nicolas. “Blagues à l’âme.” Interview (Dec. 2004 – Jan. 2005): 46-49.

Welchman, John C., and Mike Kelley. “A 1000 Words: Mike Kelley Talks About Day Is Done.” Artforum (Oct. 2005): 233-235.

Welchman, John C. “Day Is Done: The False, the Real, and the Memory in Mike Kelley’s Thirty-Two Stations.” Flash Art 245 (Nov.-Dec. 2005): 59-61.

 

2004

Borchhardt-Birbaumer, Brigitte. “Die abgründige Liebe zum Skulpturalen und Absonderlichen.” Wiener Zeitung 11 Aug 2004: np.

Breerette, Geneviève. “Mike Kelley: l’irréductible.” Le Monde 3 Dec. 2004.

de Brugerolles, Marie. “Foul Perfection: Essays and Criticism.”Art Press (2004): 66.

Buchhart, Dieter. “Mike Kelley: Das Unheimliche – Eine Austellung als Kunstwerk.” Kunstforum 172 Sept. 2004: 374-5.

Cherubini, Laura. “Mike Kelley: Galleria Emi Fontana.” Tema Celeste January/February 2004: 107.

Farber, Jim. “MOCA exhibit focuses on dark side of American Dream.” Rev. of Street Credibility. Daily Breeze 30 Jan. 2004.

Farquharson, Alex. “The Uncanny.” Frieze (May 2004): 90-91.

Favre, Jeff. “What’s going down in LA: The Year of Arbus.” Ventura County Star. 5 Feb 2004: 45+.

Friedrich, Kristin. “Get on the Arbus: ‘Street Credibility’ Gives Documentary Photography Context.” LA Downtown News 19 Jan 2004: np.

Gottlieb, Shirley. “When You’re Strange.” Rev. of Street Credibility. U Press-Telegram 30 Jan. 2004.

Harvey, Doug. “Making Believe for Real: The Revelations of Diane Arbus.” L.A. Weekly 27 Feb-4 Mar. 2004: 32-35.

Herbert, Martin. “I Am the Wrath of God.” Time Out London 8-15 Sept. 2004: 49.

Horney, Henriette. “Quer durch die Lager.” Rev. of The Uncanny. Kurier 16 July 2004: np.

Huber, Cristoph. “Durch die Alptraum-Straße.” Die Presse 17 July 2004: 29.

Janus, Elizabeth. “Mike Kelley: Galleria Emi Fontana.” Artforum April 2004: 167.

Jones, Leslie. “Street Credibility-Artist Mike Kelley Curates a Photography Exhibition at Los Angeles MOCA.” Art on Paper (May-June 2004): 70-73.

Károly, Kókai. “Das Unheimliche.” Balkon July 2004: 23-25.

Key, Phillip. “An Uncanny Encounter With Art.” A.P. Arts (Feb 2004).

Kittel, Walter. “Die Figur als Fetisch?” Rev. of The Uncanny. Deutschlandfunk 23 July 2004: np.

Knight, Christopher. “Photo synthesis.” Rev. of Street Credibility. Los Angeles Times 7 Mar. 2004: np.

Levine, Cary. “A Diderot of the Low.” Rev. of Foul Perfection and Minor Histories. Art in America (Jan. 2004): 39+.

Meyers, Laura. “Artists Blur Reality in Los Angeles Photo Fair.” Art Business (Mar. 2004).

Müller, Vanessa Joan. “Monster’s Ball: The Uncanny von Mike Kelley in der Tate Liverpool.” Texte Zur Kunst: Escape to New York 14.54 (June 2004): 206-208.

Newall, Michael. “Repetition Compulsion: Mike Kelley’s Uncanny Reanimated.” Broadsheet (2004): 38-40.

Niegelhell, Franz. “Das Zauberreich des Unheimlichen.” Der Standard 17-18 July 2004: 25.

Prime, Rebecca. “MOCA Goes for Street Cred.” Photo District News (New York) (Apr. 2004).

Rebhandl, Bert. “Die Geisterstunde des Mike Kelley.” Rev. of The Uncanny. MQ 7.18 June 2004: np.

Rosen, Steve. “A long way from Main Street.” Rev. of Street Credibility. Woodland Hills Daily 2 Feb 2004: np.

Searle, Adrian. “Inside the Mind of an Insane Collector.” The Guardian 14 Feb. 2004: 12-13.

Spiegler, Almuth. “Wahn des wieder Erkennens.” Rev. of The Uncanny. Die Presse 17 July 2004: 29.

Storr, Robert. “What’s Not to Like?: Robert Storr on Mike Kelley.” Artforum (Oct. 2004): 263-265+.

Tumlir, Jan. “Jan Tumlir on Destroy All Monsters.” Artforum (Oct. 2004): 85-86+.

Vettese, Angela. “Il quadro è epeccato.” Rev. of Mike Kelley: Galleria Emi Fontana. Vernissage 4.43 Nov. 2004: 14.

Vogel, Carol. “An Appropriate Finale for a 9.2 Million Auction.” New York Times 9 Nov. 2004.

Ed. “Artist’s Writings / Foul Perfection: Essays and Criticism.” Modern Painters 1 Dec. 2003: 141-42.

Ed. “Get on the Arbus.” Los Angeles Downtown News.com 19 Jan. 2004 <http://www.ladowntownnews.com>.

Ed. “Die lieben kleinen Monster.” Rev. of The Uncanny. AD (Architectural Digest) (Germany) 51 (July 2004): np.

Ed. “Make Yourself at Home. Memory Ware, Carpet, Woodgrain at Emi Fontana” State of the Art (2004).

Mister Motley & Zijn Schaduw (Amsterdam) 4 (2004): 73.

Ed. “Street Credibility.” Art Now Gallery Guide (Jan 2004).

 

2003

Ardenne, Paul. Art Press-Édition Spéciale, Biennale D’Art Contemporain De Lyon 2003: 10.

Conti, Riccardo. “Mike Kelley: Milano, Galleria Emi Fontana.” Exibart Oct. 27 2003. <www.exibart.com>

Danto, Arthur, C., Isabelle Graw, Thierry de Duve, David Joselit, Yves-Alain Bois, David Reed, and Elizabeth Sussman. “The Mourning After.” Artforum 40th Anniversary Issue, The 1980’s: Part One Mar. 2003: 208.

De Angelis Testa, Gemma. “I clown tristi del circo Americano.” Rev. of Mike Kelley: Galleria Emi Fontana. Le Gionale dell’Arte 226. Nov. 2003: 80.

Diederichsen, Diedrich. “A Fan’s Notes: Diedrich Diederichsen on Mike Kelley’s Writings.” Artforum 41.5 Jan. 2003: 33-34.

Falguirès, Patricia. “Artists Curate: Bernard Frize.“ Artforum 41.6 Feb. 2003: 118-123.

Harris, Mark. “Mike Kelley and Tony Oursler.” Rev. of The Poetics Project. Art Monthly July 2003: np.

Harvey, Doug. “Don’t Look Back: Mike Kelley’s Proposal.” LA Weekly: 25 Years 25.3 2003: 68.

Kent, Sarah. “Rhyme scheme.” Rev. of The Poetics Project. Time Out London 4 June 2003: np.

Leffingwell, Edward. “Mike Kelley at Metro Pictures.” Art in America Apr. 2003: 134.

Pasini, Francesca. “I Fantastici Quattro.” Rev. of Mike Kelley: Galleria Emi Fontana. Linus 34.11 Nov 2003: 82-84.

Vettese, Angela. “Il quadro è peccato” Rev. of Mike Kelley: Galleria Emi Fontana. Vernissage 43.4 Nov. 2003: 14.

Welchman, John C. “Provisorische Massnahmen: Mike Kelley als Autor.” Texte Zur Kunst, 13.5 Sept. 2003: 126 -131.

Ed. “If you put two talents together, will the works that result be twice as good?” The Sunday Times Culture Magazine. 18 May 2003: np.

 

2002

Chapuis, Yvane. “Mike Kelley: The Body General.” artpress 282 (Sept. 2002): 36-40.

Dzuverovic-Russell, Lina. “Sonic Process: A New Geography of Sounds.” Artforum 40.4 (Dec. 2002): 134.

Hainley, Bruce. “Mike Kelley.” Artforum 40.2 (Oct. 2002):150.

Harvey, Doug. “Digging the Dirt: Mike Kelley, relentlessly.” LA Weekly 15-23 May 2002.

Israel, Nico. “Tribal Counsel.” Artforum 40.5 (Jan. 2002): 47-48.

Kelsey, John. “Mike Kelley: Reversals, Recyclings, Completions, and Late Additions.” Time Out 374 Nov. 28 – Dec. 5 2002.

Knight, Christopher. “Dredging Up a Sense of Adolescent Place.” Los Angeles Times 17 May 2002: F26.

LaBelle, Charles. “Mike Kelley.” Frieze 69 (Sept.2002): 102-3.

Summers, Francis. “Hungry for Death?” Untitled 28 (Summer 2002): 16-19.

“Obscured Visions: ‘Eye Infection’ Artforum talks with Mike Kelley, Introduction by Robert Storr.” Artforum 40.5 (Mar. 2002): 114-119.

 

2001

Chomin, Linda Ann. “Visions of Detroit: Artists take on the city.” Plymouth Observer. 11 Nov. 2001: C1+.

Colby, Joy Hakanson. “Rediscovered Treasures.” The Detroit News 17 Oct. 2001: D1-D2.

Gellatly, Andrew. “Apocalypse.” Frieze 4 (Mar. 2001): 95-96.

Green, Roger. “‘Artists Take On Detroit’ in homegrown DIA show.” The Ann Arbor News 2001: D6.

Haddad, Natalie. “Here and Then: Mike Kelley joins DIA for the Artists Take of Detroit.” Real Detroit Weekly 14 Nov. 2001: 18.

Kothenschulte, Daniel. “Es wird noch alles gold, was glanzt.” Stadt Kebre 7 (Cologne, Germany) 1 July 2001.

Kothensculte, Daniel. “Für die Elster in uns: Mike Kelleys buntschillernde Memory Ware in Köln.” Frankfurter Rundschau 19 June 2001: 139.

Leibowitz, Ed. “Highs and Lows: Between the Covers with Publisher Benedikt Taschen.” Buzz (Sept. 2001): 39-42.

Lipsyte, Sam. “Mat Finish.” Artforum Dec. 2001: np.

Provencano, Frank. “Portraits of Detroit.” Rev. of Artists Take on Detroit. Detroit Free Press 21 Oct 2001: 1F+.

Roos, Renate. “Kelley’s Memory.” Kölner Stadt Anzeiger 30 June – 1 July 2001: 149.

 

2000

Bacenas, Tracy. “Consolation Prize: John Miller and Mike Kelley.” inFLUX 15.4 (Feb 2000): 26.

Bellet, Harry. “The Poetics Project, avec le temps.” Le Monde 4 Jan. 2000: 36.

Breerette, Geneviève. “Séduire ou déplaire.” Le Monde 6 Nov. 2000: 25.

Burn, Gordon. “Art imitating death.” Life: The Observer Magazine 11 Sept. 2000: 30-37.

Casadio, Mariuccia. “Mike Kelley.” L’uomo Vogue (Milan) 313 (Sept.2000).

Di Genova, Arianna. “Viaggio nel forno (Travel in the oven).” Amica. 7 June 2000: 22.

Fulcheri, Fabienne. “Des barbeles sur la prairie.” Mouvement (Feb.-Mar. 2000): 46-49.

Gopnick, Blake. “One bright idea amid the dross.” Rev. of Fresh Acconci. The Globe and Mail (Toronto) (5 Apr. 2000): R3.

Hume, Christopher. “Testing the limis of taste.” The Toronto Star (23 Mar. 2000): np.

Kihm, Cristophe. “Mike Kelley, Fraz West: Frac Poitou-Charentes.” Artpress 257 (May 2000): 79-80.

Lequeux, Emmanuelle and Olivier Nuc. “Une forme essentiellle de contre-esthétique.” Aden (18 Jan. 2000): np.

Lindgaard, Jade. “Experimental jet-set, trash and pop-stars.” Les Inrockuptibles (25 Jan. 2000): np.

Lütticken, Sven. “De impertieven van de audiogids.” De Witte Raaf 88 (Nov. 2000): 9.

Milroy, Sarah. “That’s not funny, that’s sick – or is it?” Rev. of Heidi: Midlife Crisis. National Post (Toronto) (8 Apr. 2000): E6.

Pecoil, Vincent. “I Rip You, You Rip Me.” Documents Sur L’Art 12 (2000): 108-115.

Perrella, Cristiana. “Mike Kelley, l’estetica del rifiuto.” il manifesto 22 July 2000: 15.

Poli, Francesco. “Mike Kelley.” Tema Celeste 82 (Oct.-Dec. 2000): 80+.

Pouncey, Edwin. “Multi Media: Edwin Pouncey decodes the sex-trash art of Mike Kelley.” The Wire (Feb. 2000): np.

Régnier, Philippe. “Mike Kelley et Franz West: l’art à haute voix.” Le Journale des Arts 103 (27 Apr. 2000): np.

Ruhle, Alex. “Der geheime Satz der Kaffeemaschine.” Suddeutsche Zeitung 134 (13 June 2000): 18.

Scott, Michael. “Shocking Stuff.” Vancouver Sun (22 Jan. 2000): np.

Thomsett, Mia. “Consolation Prize: John Miller and Mike Kelley.” inFLUX 15.4 (Feb 2000): 28.

White, Ryan. “Consolation Prize: John Miller and Mike Kelley.” inFLUX 15.4 (Feb 2000): 27.

Ed. “Die 100 Größten: Kunst Kompass” Capital 23 (15 Nov. 2000): 221.

 

1999

Aupetitallot, Yves. “Mike Kelley: Le Magasin.” Artpress (Oct. 1999): 14-17.

Berger, Andreas. “Das sexualle Leben der Kuscheltiere.” Braunschweiger Zeitung 3 Sept. 1999.

Breerette, Genvieve. “Les trompe-l’oeil multimedias de Mike Kelley, Californien jubilatoire.” Le Monde (French) 25 Oct. 1999: 26.

Glueck, Grace. “Mike Kelley: Metro Pictures.” New York Times 16 Apr. 1999: B35.

Levin, Kim. “Mike Kelley.” The Village Voice 27 Apr. 1999: 82.

Marignac, Thierry. “Art, Craft, Sex, and Man.” Omnibus (Oct. 1999): 2-3.

Miles, Christopher. “Mike Kelley at Patrick Painter Inc.” Artforum (Apr. 1999): 127.

Pieters, Rudy. “Sofakunst en overschotjes.” CafédesArts 18 Dec. 1999.

Peter, Sascha. “Sex to Sexty.” Subway (Oct. 1999).

Shulman, Dave. “What Makes the Worm Growl: Mike Kelley’s Health Plan.” L.A. Weekly 22-28 Jan.1999: 39.

Shaheri, Tami. “Seattle Museum Seeks Creative Murderer.” Apbonline.com 6 May 1999 <http://www.apbonline.com>.

Winter, Peter. “Folterkammern fur Schmuddlekinder.” FAZ (Germany) 14 Oct. 1999.

Ed. “Mike Kelley.” The New Yorker 26 Apr. 1999: 22-23.

Ed. “Horror im Kinderzimmer.” Der Spiegel (Germany) 6 Sept. 1999: 250-51.

 

1998

Crawford, Ashley. “Monster Men.” World Art (Winter 1998): 28-31.

Dziewior, Yilmaz. “Mike Kelley.” Artforum (Dec. 1998): 139.

Harvey, Doug. “Mike Kelley and Tony Oursler at Patrick Painter.” L.A. Weekly 9-15 Jan. 1998: 39.

Heiser, Jörg. “Mike Kelley.” Frieze 43 (Nov. 1998): 82-83.

MacInnis, Michael. “Probing the Poetics.” Flatiron News (Spring 1998): 55.

McCormick, Carlo. “Mike Kelley.” Juxtapoz (Fall 1998): 48-49.

Schwendener, Martha. “Mike Kelley.” Time Out (New York) 25 June-2 July 1998: 58.

Shamash, Diane. “A History Lesson.” Art in America (Oct.1998): 112-115.

Ed. “Labyrinth voll spitzer Stein.” Kolner Stadt-Anzeiger 19 July 1998: 40.

Ed. “Tips und Termine.” Kolner Anzeiger 24 July 1998.

Ed. “Uberraschung im Kunst-Tunnel.” Express Kulture 11 June 1998.

 

1997

Birnbaum, Daniel. “Ajö smä vänner.” Dagens Nyheter (Sweden) (Apr. 29 1997): np.

Boije af Gennäs, Staffan. “Mike Kelley Retrospective at Rooseum Malmö: Incidents During Intrplanetary Picnics.” Material 32 (Spring 1997): 11.

Borràs, Maria Lluïsa. “La voz de los desprovistos de derechos.” Vanguardia (Brazil) 24 Jan. 1997: np.

Duncan, Michael. “Cultic Crossover: Mike Kelley in Barcelona.” LA Weekly 14 Mar. 1997: 31

Frisach, Montse. “Mike Kelley: ‘No veig diferència entre anar a un concert de rock o a un museu.’” AVUI Divendres (Brazil) (24 January 1997): np.

Giralt-Miracle, Daniel. “Mike Kelley, Made in USA.” A B C de las artes (Brazil) (7 Feb. 1997): np.

Goldman, Robert. “Artist’s Diary.” artnet Magazine (Apr. 1997) <http://www.

artnet.com>.

el Guayobreo, Óscar. “Mike Kelley: Alienígenas y peluches.” Teatro/Arte (Brazil) (Mar. 1997: 26.

Halle, Howard. “Four on the Floor.” Time Out (New York) 17-24 Apr. 1997: 41.

Hägred, Per. “Kelendern: Gosedjur MC 5 Mike Kelley.” Kvällsposten (Sweden) (Apr. 25 1997): 14-15.

Hapgood, Susan. “‘Shit’ at Baron/Boisnate.” Art in America (Mar. 1997): 109-110.

Hidenaga, Ohtori. “The Twentieth Century Polyphonic Art Theatre.” Weekly Yasahigraph (Japan) 2.21: 46-49.

Kandel, Susan. “Poetics Project Relives Group’s Heady Days.” Los Angeles Times 12 Dec. 1997: F28.

Knight, Christopher. “Look Out World, Here They Come.” Los Angeles Times 3 Mar. 1997: 63-64.

Kozloff, Max. “Sunshine and Noir: Art in LA, 1960-1997.” Artforum (Nov. 1997): 110-111.

Krauss, Rosalind, and Helen Molesworth. “The Good, the Bad, and the Ugly.” Documents 8 (1997): 47-52.

Kyander, Pontus. “Välkommen till Kelleys grotta.” Sydsvenskan (Sweden) (29 Apr. 1997): np.

Lyttelton, Celia, and Waldemar Januszczak. The Now Art Book. Tokyo: Shiseido and Korinsha Press & Co., Ltd., 1996.

Pecoil, Vincent. “Mike Kelley, A Minor Art.” Documents sur l’art (Fall 1997): 125-135.

Rimanelli, David. “A/drift.” Artforum (Feb. 1997): 83.

Rubin, Birgitta. “Anarkist I blåställ.” Dagens Nyheter (Sweden) (Apr. 27 1997): np

Schön, Margaretha. “Solkiga kramdjur i en förload tid.” Svenska Dagbladet (Sweden) (Apr. 26 1997): np.

Serra, Catalina. “El Macba ehibe el arte ‘adolescente’ del creador estadounidense Mike Kelley.” El Pais (Brazil) 24 Jan 1997: np.

Spiegel, Olga. “El Macba presenta la primera retrospectiva española de Mike Kelley.” La Vanguardia (Brazil) 24 Jan. 1997: np.

Ed. “Mike Kelley I Introversiona al MACBA.” La veu de Ciutat Vella (Brazil) (Feb. 1997): np.

Ed. “Special Feature: Mike Kelley and the L.A. Art Scene.” B.T. Monthly Art Magazine (Feb. 1997): 16-80.

 

1996

Blom, Ina. “Mike Kelley.” Material (Stockholm) 28 (1996): 11-12.

Chapman, Jake, and Dinos Chapman. “Jake & Dinos Fine Arts Inc.” Dazed & Confused 16 (1996): 78-88.

Drohojowska, Hunter. “L.A.’s Kunstler auf der Jagd nach dem Teen Spirit.” Kunstforum 134 (May 1996): 194-198.

Donohue, Marlena. “In the Studio: Mike Kelley.” Sculpture (Apr. 1996): 8-9.

Foster, Hal. “Obscene, Abject, Traumatic.” October 78 (Fall 1996): 107-124.

Hindry, Ann. “Operating with the ‘Informe.’” Art Press 213 (May 1996): 34-41.

Krauss, Rosalind. “Informe Without Conclusion.” October 78 (Fall 1996): 86-105.

Lunenfeld, Peter. “Technofornia.” Flash Art (Mar.-Apr.1996): 69-71.

Min, Nishihara. “Art Mix.” Designers’ Workshop 13.85 (Japan) (Dec. 1996): 110.

Van de Walle, Mark. “Mike Kelley.” Artforum (Jan. 1996): 81.

Wlodarski, Lisa. “Playtime (Sort Of).” The Advocate & Greenwich Time 7 Jan. 1996: D3-4.

Zimmerman, William. “No Simple Innocence, Childhood Now Invoked Has More in Tow.” New York Times 21 Jan. 1996: CN-16.

 

1995

Albig, Von Jorg-Uwe. “Mike Kelley.” Art (Apr. 1995): 78-85.

Dahlqvist, Dennis. “Har.” Expressen 28 Dec. 1995: 5.

Czöppan, Gabi. “Ruppiges Kellerkind auf künstlichem.” Focus 7 (German) (13 Feb. 1995): np.

Greene, David A. “Mike Kelley.” Los Angeles Reader 24 Feb. 1995.

Holert, Tom “Mike Kelley: Vater, Lehrer, Kind.” Texte Zur Kunst 18 (May 1995): 95+. Reprinted in Une Anthologie de la revue Texte zur Kunst de 1990 à 1998. Eds. Catherine Chevalier and Andreas Fohr. Dijon: Les Presses du Réel, 2010.

Howard, Halle. “School Daze: Mike Kelley’s Class Struggle.” Time Out (New York) 1-8 Nov. 1995: 24.

Jorg, Von, and Uwe Albig. “Mike Kelley—ein Kunstler bekampft die Romantik.” Art (Apr. 1995): 78-85.

Kimmelman, Michael. “Mike Kelley.” New York Times 24 Nov. 1995.

Kothenschulte, Daniel. “Memories are Made of This.” Stadt Revue (Mar. 1995): 140-1.

Kummer, Tom. “Der Schreck der Kusheltiere.” Süddeutsche Zeitung Magazin 10 Feb. 1995: 18-23.

Meixner, Christine. “Späte Rache an denen, die ein stares Konzept vorgaben.” Kölner Stadt-Anzeiger 41 (14 Feb. 1995): 26.

Miro, Marsha. “Destroy all Preconceptions.” Detroit Free Press 16 Oct. 1995: G1+.

Poschardt, Ulf. “Der Ordnungswuter.” Deutsch Vogue (Mar. 1995): 252-255.

Schutz, Heinz. “Mike Kelley, Katholische Vorleiben, Haus de Kunst, Munchen.” Kunstforum 130 (May-July 1995): 371-74.

Schjeldahl, Peter. “More Dirty Looks.” The Village Voice 7 Nov. 1995: 81.

Steiger, Walter. “What is Art?” Le Millenium (Spring-Summer 1995).

Stephen, Gary. “Mike Kelley.” The New York Art Intelligencer 1 (Fall 1995): 18.

Sussman, Elizabeth. “Mike Kelley.” Art in America (Jan.-Feb. 1995).

Ed. “Mike Kelley.” The New Yorker 20 Nov. 1995: 24.

 

1994

Calhoon, Sharon L. “Art and the Notorious.” Dialogue (Sept.-Oct. 1993): 14-15.

Clearwater, Bonnie. “Arrested Childhood.” Art Press 197 (Dec. 1994): 33-40.

Decter, Joshua. “Stupidity as Destiny: American Idiot Culture.” Flash Art 27.178 (Oct. 1994): 73-76.

Duncan, Michael. “Kelley’s Junk Shop Pop.” Art in America (June 1994): 84-89.

Graaf, Vera. “Den Verv der Zeit Getroffen.” Sudelin Zeit 4 (1994).

Indiana, Gary. “Wiretap: A Walk through the Whitney, or What We Really Say When We Talk about Art.” Artforum (Mar. 1994): 70-73.

Knight, Christopher. “Nothing Like a Little Enlightened Impurity.” Los Angeles Times 1 July 1994: F1+.

_______. “Two Artists and the Meaning of Identity.” Los Angeles Times Calendar 21 Aug. 1994: 58+.

Kohen, Helen L. “Art Review (Arrested Childhood).” The Herald 22 May 1994: 11.

Lewis, Jim. “Mike Kelley.” Texte zur Kunst (1994): 32-35.

Myers, Terry R. “The Mike Kelley Problem.” New Art Examiner (Summer 1994): 24-29.

Pagel, David. “Mike Kelley.” Art Issues (Sept.-Oct. 1994): 50.

Rimanelli, David. “More Art Hours Than Can Ever Be Repaid.” Frieze (Jan.-Feb. 1994): 16-21.

Sussman, Elizabeth. “Mike Kelley: Operaio Anarchico del Midwest.” Flash Art 186 (1994): 15-22.

Ward, Frazer. “Abject Lessons.” Art + Text 48 (May 1994): 46-51.

Welchman, John C. “Mike Kelley.” Art + Text 48 (May 1994): 79.

Weissman, Benjamin. “Crashing through Id-land.” L.A. Weekly 22-28 July 1994: 31-32.

Wylie, Charles. “‘It’s a Tough World Out There’: Drawings by Mike Kelley, Joyce Pensato and Raymond Pettibon.” The Print Collector’s Newsletter 25.5 (Nov.-Dec. 1994).

Ziegler, Ulf Erdmann. “Die Verschlusselten Knuddeltiere.” Die Zeit 14 Jan. 1994: 53.

 

1993

Avgikos, Jan. “Mike Kelley, Metro Pictures.” Artforum (Mar. 1993): 92-93.

Breslauer, Jan. “Mister Mike.” Vanity Fair (Dec. 1993): 87.

Cameron, Dan. “The Apocalyptic Vulgarian.” Art & Auction (Nov. 1993): 90-94.

Curtis, Cathy. “On Drawing: Get the Point.” Los Angeles Times (Orange County Edition) 27 Apr. 1993: F1-2.

Czöppan, Gabi. “Kunst-Prospect 1993: Austteiger des Jahres.” Focus 27 (German) (July 1993): 63.”

Duncan, Michael. “L.A. The Dark Side.” Art in America (Mar. 1993): 41-43.

_______. “Kelley’s Junk-shop Pop.” Art in America (June 1993): 85-89.

Ferguson, William. “It’s the Context, Stupid.” Esquire (Dec 1993): 36.

Fortes, Marcia. “Patologia do inconsciente Americano.” Journal Do Brasil 8 Nov 1993: np.

Heath, Chris. “Artful Dodgers.” Details (Nov. 1993): 118-123+.

Hess, Elizabeth. “Stolen Cookies.” The Village Voice 16 Nov. 1995: 111.

Hughes, Robert. “Dolls and Discontents.” Time 6 Dec. 1993: 85.

Joo, Michael. “Mike Kelley, Metro Pictures.” Flash Art 26.169 (Mar.-Apr. 1993): 82.

Knight, Christopher. “Mike Kelley’s Messy, Underbelly World.” Los Angeles Times 8 Nov. 1993: F1+.

_______. “Crushed by Its Good Intentions.” Los Angeles Times 10 Mar. 1993: F1+.

Kramer, Hilton. “Duchamp’s Progeny.” Modern Painter 6.3 (Autumn 1993): 72.

Kremer, Mark. “A Fucked-Up Mirror of Dominant Image Making.” Art Press (Sept. 1993): E5-8.

Lambrecht, Luk. “Sonsbeek ’93.” Flash Art (Oct. 1993): 119.

Larson, Kay. “Valley of the Dolls.” New York 22 Nov. 1993: 87-88.

_______. “What a Long Strange Trip.” New York 22 Mar. 1993: 71-72.

Lipton, Michael. “Rogues’ Gallery.” People 29 Nov. 1993: 67-68.

McKenna, Kristine. “Mike Kelley’s Disturbing Memories.” Art News (Nov. 1993): 150-155.

_______ “The Outlaw Gets Legit.” Los Angeles Times Magazine Dec. 1993: 34-38+.

Morgan, Stuart. “Into the Trees” Frieze (Sept.-Oct. 1993): 22-25.

Princenthal, Nancy. “Going to Extremes, Violence in Contemporary Sculpture.” Sculpture (Mar.-Apr. 1993): 58-61.

_______. “Mike Kelley at Metro Pictures.” Art in America (Apr. 1993): 127.

Schjeldahl, Peter. “Art + Politic Missing: The Pleasure Principle.” The Village Voice 18 Mar. 1993: 34+.

Smith, Roberta. “A Whitney Biennial with a Social Conscience.” New York Times 5 Mar. 1993: C1+.

_______. “Mike Kelley’s Messages: Mixed and Emotional.” New York Times 5 Nov. 1993: C33.

Solomon, Deborah. “A Showcase for Political Correctness.” The Wall Street Journal 5 Mar. 1993: A7.

_______. “Portraits of the Artist as Young Loser.” The Wall Street Journal (Nov. 1993): np.

Wallach, Amei. “Art with an Attitude.” New York Newsday 5 Mar. 1993: 52-53.

_______. “Kelley Defies Pleasure.” FanFare 7 Nov. 1993: 21.

Wallis, Brian. “Mike Kelley’s ‘The Uncanny.’” Art in America (Oct.1993): 55.

 

1992

Adams, Brooks. “Mike Kelley on l’esthetique de l’ echec.” Art Press (June 1992): 32-37.

Baker, Kenneth. “New York: Allegories of Modernism.” Artspace (July-Aug. 1992): 62-63.

Bernardi, David. “The ABC’s of Perversion.” Flash Art (Jan.-Feb. 1992): 126.

Diederichsen, Diedrich. “Yet Another Discovery: Mike Kelley in Video.” Parkett 31 (1992): 77-81.

Drohojowska, Hunter. “Going to a-Gogh-Gogh.” Rev. of “Helter Skelter.” Los Angeles Times Calendar. 1 March (1992): np.

Fairbrother, Trevor. “Mike Fucking Kelley.” Parkett 31 (1992): 64-68.

Francois, Alain-Henri. “Lieux communs, figures singulieres banal.” Voir (Feb. 1992): 16f.

Gardner, Colin. “Helter Skelter at the Temporary Contemporary.” Artforum (Apr. 1992): 103-104.

Grazioli, Elio. “Art ’90: To contain, to tie, to wrap.” Annual Tessuti (1992).

Gorsen, Peter. “Spielerische Umarmung des Lebens.” Rev. of Heidi Mid-life Crisis Trauam Center. Frankfurter Allgemeine Zeitung (3 Dec 1992): np.

Kandel, Susan. “L.A. in Review.” Arts Magazine (Apr. 1992): 98-99.

_______. “Join the Club.” Los Angeles Times 9 July 1992: F5.

_______. “An Art of Darkness at MOCA.” Los Angeles Times 28 Jan. 1992: F1+.

Knight, Christopher. “Mike Kelley.” Los Angeles Times 5 July 1992: 70-71.

Liu, Catherine. “Just Pathetic.” Artforum (Apr. 1992): 95-96.

Marcade, Bernard. “The World’s Bad Breath.” Parkett 31 (1992): 97-99.

McKusik, Tom, and Mike Tronnes. “Pathetic Aesthetic (Does the low frontier of pathetic art signal the end of irony?).” Utne Reader (Nov.-Dec. 1992): 97-103.

Muchnic, Suzanne. “Art in the City of Angels and Demons.” Los Angeles Times Calendar 26 Jan. 1992: 4-5+.

Myers, Terry R. “Mike Kelley.” Tema Celeste (Fall 1992): 98-99.

N., A. “Kuschelcore: Künstler Mike Kelley.” What’s That Noise 12 (1992): 29-31.

Nesbitt, Lois. “Art’s Bad Boys.” Elle (Mar. 1992): 130.

Plagens, Peter. “Welcome to Manson High.” Newsweek 2 Mar. 1992: 65-66.

Relyea, Lane. “Wild Kingdom.” Parkett 31 (1992): 82-85.

_______. “Politically Correct/Incorrect: On Graduates and Dropouts.” Artspace (July-Aug. 1992): 28-30.

Rugoff, Ralph. “MOCA’s Helter Skelter and the Art of Our Times Apocalypse Noir.” L.A. Weekly (31 Jan.-6 Feb. 1992): 18-20+.

Segal, Lewis. “Troupe Drums up Rock’s Barest Essence.” Rev. of “Beat of the Traps.” Los Angeles Times (1 July 1992): F11.

Steiner, Bettina. “Vereinzelung für Auge und Ohr.” Rev. of “Beat of the Traps.” Die Presse (5 June 1992): 17.

Sutton, Fiona Byrne. “Cologne Galleries and Art Fair.” Alba (Dec.-Jan. 1992): 27.

Trenkler, Thomas. “Perverses Holterdiepolter.” Wirtschaftswoche 17 (April 1992): 68-70.

_______. “Ganz Schon LAX.” Wirtschafts Woche 45 (Nov. 1992): 78-79.

Whitington, G. Luther. “L.A.’s New Look.” Art & Auction (Jan. 1992): 82-85.

Ed. “Mike Kelley Solo Exhibition.” Wolgan Misool Monthly Art Magazine 11 (Nov. 1992): 104-108.

Ed. “Die Aufstieger: Capital Kunstkompass 1992.” Capital 11 1992: 144-146.

 

1991

Alden, Todd, and Terry R. Myers. “Total Metal.” Arts Magazine (Feb. 1991): 80.

Bass, Ruth. “Carroll Dunham, Mike Kelley, Cindy Sherman.” Art News (May 1991): 151-152.

Britton, Donald. “Mike Kelley.” Art Issues (Dec. 1990-Jan. 1991): 37.

Fehlau, Fred. “Mike Kelley.” Flash Art (Jan.-Feb. 1991): 136.

_______. “Presenting Rearwards.” Flash Art (Nov.-Dec. 1991): 164.

Kandel, Susan. “Heart in Mouth.” Arts Magazine (Feb. 1991): 109.

Kimmelman, Michael. “Mike Kelley’s Toys Play Nasty Games.” New York Times 7 Apr. 1991: 33.

_______. “At the Whitney, a Biennial That’s Eager to Please.” New York Times 19 Apr. 1991: C1+.

_______. “At Carnegie 1991, Sincerity Edges Out Irony.” New York Times 27 Oct. 1991: 31+.

Knight, Christopher. “Slouching Toward the Present.” Los Angeles Times Calendar 11 Aug. 1991: 8, 79, 86.

_______. “Carnegie International Strikes a One-Note Theme.” Los Angeles Times 26 Oct. 1991: F18.

Kuoni, Carin. “Der halbe Mensch.” Nueue Zurcher Zeitlung 30 Apr 1991: np

Larson, Kay. “A Shock To The System.” New York Magazine 29 Apr. 1991: 86-87.

_______. “Whitney Biennial.” Galeries Magazine (June-July 1991): 68-71.

Lewis, James. “Beyond Redemption.” Artforum (Summer 1991): 71-75.

_______. “Home Boys.” Artforum (Oct. 1991): 101-105.

_______. “Total Metal.” Art Issues 17 (Apr.-May 1991): 14.

McEvilley, Thomas. “New York: The Whitney Biennial.” Artforum (Summer 1991): 98-101.

Morgan, Susan. “Mike Kelley: Wild West artist.” Mirabella (July 1991): 17.

Perl, Jed. “Stuffed.” The New Criterion June 1991: 45-47.

Richard, Paul. “Toys Not for Tots.” The Washington Post 28 Feb 1991: np.

Rollig, Stella. “Ich Verkunde Nür Falschheiten.” Kunstpresse 6 (Dec. 1991): 34-35.

Rugoff, Ralph. “Missing Persons: The Desecration of the Body.” L.A. Weekly 2-8 Aug. 1991: 37.

Schulz, Bernard. “Handwerk hat goldenen Boden.” Der Tagesspiegel 20 Apr. 1991.

Viegener, Matias. “Heart in Mouth.” Art Issues 16 (Feb.-Mar. 1991): 29.

Ed. “Mike Kelley.” The Print Collector’s Newsletter (Jan.-Feb. 1991).

Ed. “Conceptual Realities.” B.T. Monthly Art Magazine (July 1991): 46-47.

 

1990

Abrams, Harry N. “New Art.” New York: 102-103.

Anderson, Carolyn G. “Exalting the Visceral.” Artweek 22 Nov. 1990.

Artner, Alan G. “Mike Kelley.” Chicago Tribune 12 Jan. 1990: Sec. 7, 50.

Brollo, Boris. “Mike Kelley.” Juliet 50 (Dec. 1990 – Jan. 1991): 40.

Cottingham, Laura. “Mike Kelley, Metro Pictures.” Tema Celeste (July-Oct. 1990): 66.

Cameron, Dan. “Changing Priorities in American Art.” Art International (Spring 1990): 86-90.

Curtis, Cathy. “Mike Kelley.” Los Angeles Times 1 May 1990: F5.

Gutterman, Scott. “World Chronicle—New York.” Art International 12 (Fall 1990): 58.

_______. “Mike Kelley.” Art International 12 (Fall 1990).

Hartigan, Patti. “ICA Faces Rejection of Grant by NEA.” Boston Globe 22 Oct. 1990.

Hawkins, Richard. “Just Pathetic.” Art Issues (Nov. 1990): 33.

Henry, Gerrit. “Mike Kelley, Metro Pictures.” Contemporanea (Sept. 1990): 103.

Humphrey, David. “Stained, Sheets/Holy Shroud.” Arts Magazine (Dec. 1990): 58-62.

_______. “Hair Piece.” Art Issues (Feb. 1990): 17-20.

Jones, Nancy. “Anxieux objects made in the USA.” Artstudio (Winter 1990): 116-25.

Kandel, Susan. “L.A. in Review: Just Pathetic.” Arts Magazine (Nov. 1990): 126.

Kent, Sarah. “Jessica Diamond, Mike Kelley.” Time Out (New York) 25 Apr.-2 May 1990.

Koether, Jutta. “C-Culture and B-Culture.” Parkett 24 (1990): 97-106.

Kornblau, Gary. “Mike Kelley.” Art Issues (Mar.-Apr. 1990): 24-25.

Knight, Christopher. “Disheveled Dolls Center of Mike Kelley’s Show.” Los Angeles Times 10 Oct. 1990: F4.

_______. “The Pathetic Aesthetic: Making Do with What Is.” Los Angeles Times 14 Aug. 1990: F8.

Knight, Christopher “Is L.A. a World-Class Art City?” Los Angeles Times Calendar 8 Apr. 1990: 7-9.

Levin, Kim. “Dogs and Babies.” The Village Voice May 1990: 98.

Lillington, David. “Mike Kelley en Jessica Diamond.” Metropolis M. (Summer 1990).

Mahoney, Robert. “New York in Review: Mike Kelley.” Arts Magazine (Sept. 1990): 100.

Markus, Liz. “Mike Kelley, Metro Pictures.” Sculpture (July-Aug. 1990): 60.

Nesbitt, Lois E. “Not a Pretty Sight.” Artscribe (Sept.-Oct. 1990): 64-67.

Parachini, Allan. “NEA Won’t Fund Boston Show of L.A. Artist.” Los Angeles Times 23 Oct. 1990: F1-7.

Rimanelli, David. “Mike Kelley.” Artforum (Sept. 1990): 151.

Rugoff, Ralph. “Body Doubles.” L.A. Weekly 7-13 Dec. 1990: 36.

Rugoff, Ralph. “Cabbage Patch Culture.” L.A. Weekly 2-8 Oct. 1990: 39-40.

Schjeldahl, Peter. “The New Low.” The Village Voice 13 Nov. 1990.

Smith, Richard. “Updating the Sublime.” Visions (Summer 1990): 12-17.

Smith, Roberta. “Mike Kelley.” New York Times 20 Apr. 1990: C1, C28.

Spector, Buzz. “Stained Sheets/Holy Shroud.” Art Issues (Sept.-Oct. 1990): 37.

Tager, Alisa. “Mike Kelley.” Lapiz 71 (Oct. 1990).

Taylor, Paul. “Mike Kelley: Toying with Second-Hand Souvenirs.” Flash Art 23 (Oct. 1990): 141-143.

White, Garrett. “Lost & Found.” Buzz (Oct.-Nov. 1990): 85-87.

Woods, Lynn Andreoli. “Gut Feeling: Ominous Overtones for Heart in Mouth.” Los Angeles Reader 2 Nov. 1990.

Ed. “A Chronology of Actions, Protests, Lawsuits, Trials, Censorship and the NEA.” High Performance (Winter 1990): 35.

Ed. “Frohnmayer Rejects Grant for Boston Show.” New York Times (Oct. 23 1990): C16.

Ed. “Mike Kelley.” The New Yorker 30 Apr. 1990: 13.

 

1989

Adams, Brooks. “Into the Words: Thoughts on ‘A Forest of Signs.’” Visions (Winter 1989).

Anderson, Michael. “Mike Kelley at Rosamund Felsen.” Art Issues (Summer 1989): 23.

Avgikos, Jan. “The Binational, ICA Boston.” Artscribe (Summer 1989): 83-84.

Baker, Kenneth. “Signs of the Modern Morass.” San Francisco Chronicle 9 July 1989.

Benway, Mrs. “Mike Kelley.” Spex (Mar. 1989): 81.

Caley, Shaun. “Spotlight: A Forest of Signs.” Flash Art (Nov.-Dec. 1989): 134.

Cameron, Dan. “Pop ‘n’ Rock.” Art Issues 7 (Nov. 1989): 9-17.

Clothier, Peter. “L.A.: Outward Bound.” Art News (Dec. 1989).

Deichter, David. “1989 Biennial, Whitney Museum of American Art.” Artforum (Sept. 1989): 143-144.

Drohojowska, Hunter. “The 80′s: Stop Making Sense.” Artnews (Oct. 1989): 146-151.

_______. “Contemporary Art’s Crisis of Representation.” The Journal of Art (Sept.-Oct. 1989): 15-16.

Geer, Suvan. “Mike Kelley.” Los Angeles Times 24 Mar. 1989: Sec. VI, 15.

Gilbert-Rolfe, Jeremy. “The Price of Goodness.” Artscribe (Nov.-Dec. 1989): 48-53.

Graw, Isabelle. “The American Binational.” Flash Art (Jan.-Feb. 1989): 108-109.

Heartney, Eleanor. “Who’s Afraid of the Whitney Biennial?” Art News (Summer 1989): 171.

Hess, Elizabeth. “The Whitney Biennial Coming up Empty.” The Village Voice 9 May 1989: 90-92.

Holland, Cotter. “A Bland Biennial.” Art in America (Sept. 1989): 81-87.

James, David E. “Signs Taken For Wonders.” Art Issues (Los Angeles) (Sept.-Oct. 1989): 18-20.

Kandel, Susan. “Pick of the Week.” L.A. Weekly 21-27 Apr. 1989: 122.

Knight, Christopher. “Kelley Gives Cultural Values a Trashing.” Los Angeles Herald Examiner 24 Mar. 1989: 4.

_______. “Temporary Points Way with ‘Signs.’” Los Angeles Herald Examiner 21 May 1989: E1-2.

_______. “L.A. Lately.” Elle (Dec. 1989): 190-92.

Kramer, Hilton. “The Whitney’s ’89 Biennial Exhibit: Bourse of Marketing Reputations.” New York Observer 15 May 1989: 1+..

Larson, Kay. “The Children’s Hour.” New York 8 May 1989: 94-95.

Marshall, Lisa Phillips. “The Artist as Model Sufferer.” Parkett 18 (1989): 151.

McKenna, Kristine. “In the Footsteps of Warhol.” Los Angeles Times Calendar 7 May 1989: 90-92.

Messler, Norbert. “Mike Kelley.” Artforum (Summer 1989): 156.

Ollman, Leah. “San Diego Artists Respond to Political Challenge.” Los Angeles Times (San Diego Edition), 7 Sept. 1989: Sec.VI, 4.

Plagens, Peter. “Under Western Eyes.” Art in America (Jan. 1989): 33-39.

Rugoff, Ralph. “Liberal Arts.” Vogue (Aug. 1989): 328-333.

Schjeldahl, Peter. “The Muses on Strike.” 7 Days 17 May 1989: 67.

Smith, Roberta. “Art That Hails from the Land of Deja Vu.” New York Times 4 June 1989: 1+.

_______. “The Whitney Biennial: A Show of Democracy.” New York Times 28 Apr. 1989: B1+.

Wilson, William. “Comments on Our Life and Times: Polite Agit-Pop in A Forest of Signs.” Los Angeles Times Calendar 7 May 1989: 6-7+.

Woodward, Richard B. “For Art Coastal Convergences.” New York Times 16 July 1989: C1+.

_______. “Comics as Inspiration: Are We having Fun Yet?” New York Times 23 Apr. 1989.

Ed., “University Art Museum: December at the UAM and PFA,” Rev. of Mike Kelley: Post Renaissance Man. University at California Berkeley, December 1989.

 

1988

Artner, Alan G. “The Element of Truth in Our Cultural Kitsch.” Chicago Tribune 5 June 1988: B14.

Aziz, Anthony. “MIT List Visual Arts Center/Cambridge; L.A. Hot and Cool: The Eighties.” Art New England (Mar. 1988).

Baker, Kenneth. “L.A. Strikes Again.” San Francisco Chronicle 23 Apr. 1988.

Benway, Mrs. “Mike Kelley.” Spex (Nov. 1988): 75.

Bonnetti, David. “Welcome to L.A.—Art that Blows Hot and Cool.” Boston Phoenix 15 Jan. 1988.

Drohojowska, Hunter. “The Artists who Matter, L.A.’s New Scene Makes History,” Antiques & Fine Arts 1988: 49-52.

Dubin, Zan. “The Wit and Wetness of Mike Kelley.” Los Angeles Times Calendar 22 May 1988: 96.

Fehlau, Fred. “Mike Kelley at Rosemund Felsen.” Flash Art (Mar.-Apr. 1988): 115-16.

Glatt, Cara. “Works Draw Inspiration from Fine ‘Low’ Images.” Chicago Herald 11 May 1988.

Heartney, Eleanor. “Mike Kelley, Metro Pictures.” Artnews (Nov. 1988): 174-75.

Hixson, Kathryn. “Mike Kelley.” Arts Magazine (Nov. 1988): 97.

Howell, John. “Prankster Painter.” Elle (Sept. 1988): 232.

Jalon, Allan. “‘Skeptical Belief(s)’ Exhibit Displays Varied Style of CalArts Graduates.” Los Angeles Times Calendar (Orange County Edition) 24 Jan. 1988.

Larson, Kay. “Mike Kelley.” New York Magazine 3 Oct. 1988: 71+.

Leigh, Christian. “L.A. Hot and Cool—The Eighties.” Artforum (Apr. 1988): 150-151.

Miner, Michael. “Outlaw Art.” Chicago Reader 27 May 1988.

Palmer, Laurie. “Mike Kelley: Renaissance Society.” Artforum (Sept. 1988): 146-147.

Raczka, Robert. “MOCA Sights Local Art in Striking Distance.” New Art Examiner (June 1988): 39-40.

_______. “Mike Kelley.” New Art Examiner (Feb. 1988): 66.

Rubenstein Meyer, Raphael. “New York Scene.” ETC. (Montreal) (Winter 1988): 65.

Rugoff, Ralph. “Talking Head: Playing Dumb.” L.A. Weekly 10-16 June 1988: 20.

_______. “Mike Kelley at Rosemund Felsen Gallery.” Artscribe (May 1988): 83-84.

Schjeldahl, Peter. “New Blue Collar.” 7 Days 5 Oct. 1988: 59.

Small, Michael, and Jacqueline Savaino. “Thanks to Medicis like Norton Simon and Armand Hammer, a Gilded Dilly of an Art Scene Flowers in L.A.” People 28 Mar. 1988: 86-93.

Smith, Roberta. “Mike Kelley.” New York Times 23 Sept. 1988: C28.

_______. “80′s Art with a Passport to Germany.” New York Times 23 Oct. 1988.

Taylor, Robert. “L.A. Hot and Cool’—A Rewarding Exhibit.” The Boston Globe 17 Jan. 1988.

Weissman, Benjamin. “Report On A Gothic Entity/‘I Allegorically Deny That’/Secret Tales of Mike Kelley in Ten Easy Steps.” Visions (Winter 1988).

Wilson, William. “Prize Winners That Look to a Losing Future.” Los Angeles Times Calendar 5 June 1988.

Ed., “88 for 1988.” Los Angeles Times Magazine 4.1 (10 January 1988).

 

1987

Drohojowska, Hunter. “The Artists Who Matter: L.A.’s New Scene Makes History.” Antiques and Fine Art (June 1987): 50.

Gipe, Lawrence. “Chris Burden and Mike Kelley.” Artscene 6.7 (Mar. 1987).

Howell, John. “Mike Kelley, Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile.” Artforum (May 1987): 151-2.

Jones, Ronald. “Mike Kelley, Metro Pictures.” Flash Art (Feb.-Mar. 1987): 106-107.

Knight, Christopher. “Mike Kelley.” Los Angeles Herald Examiner 15 Feb. 1987.

_______. “‘Half a Man’ is Wholly Compelling.” Los Angeles Herald Examiner 13 Dec. 1987: E1-9.

Lawson, Thomas. “Reheating the Avant-Garde.” L.A. Weekly 15-27 May 1987: 30-31+.

Leonhart, Mark Michael. “‘Head Sex’: An Orgy of Comprehension.” Windy City Times 23 July 1987.

Muchnic, Suzanne. “Mike Kelley.” Los Angeles Times 27 Mar. 1987.

Nash, Michael. “Video Poetics: A Contemporary Survey.” High Performance 37 (1987): 69.

O’Dell Kathy. “Mike Kelley at Artists Space.” Art in America (May 1987): 184.

Rugoff, Ralph. “Pick of the Week.” L.A. Weekly 24-30 July 1987.

_______. “Pick of the Week.” L.A. Weekly 11-17 Dec. 1987.

_______. “Freudian Prankster.” L.A. Weekly 20-26 Feb. 1987.

Zeichner, A. “Good Times: Event Picks of the Week.” L.A. Weekly 13-19 Feb. 1987.

 

1986

Cameron, Dan. “Mike Kelley’s Art of Violation.” Arts Magazine (June 1986): 4-17.

McGuigan, Cathleen, and Janet Huck. “Picasso in Lala Land.” Newsweek 24 Nov. 1986: 86-88.

Richard, Paul. “The New Lay of Landscape.” The Washington Post 11 Jan. 1986: G9.

Vangelisti, Paul. “Flawed Polemics.” Artweek 17.25 (July 1986): 7.

 

1985

Cameron, Dan. “A Whitney Wonderland.” Arts Magazine (Summer 1985): 66-69.

Gardner, Colin. “Mike Kelley.” Los Angeles Times 13 Sept. 1985.

_______. “Exorcising Philosophical Demons.” Artweek 28 Sept. 1985: 1.

Gordon, Kim. “American Prayers.” Artforum (Apr. 1985): 73-77.

Knight, Christopher. “LAICA ‘B/W’ is a Superb Exhibition of Drawings.” Los Angeles Herald Examiner 7 July 1985.

_______. “Season-Opening Shows May Presage Great Art Year.” Los Angeles Herald Examiner 6 Oct. 1985: E8.

Levin, Kim. “Cryptanalysis.” The Village Voice 18 June 1985.

Muchnic, Suzanne. “Art Survey Goes Beyond the Mere Black and White.” Los Angeles Times 5 July 1985.

Pincus, Robert L. “Two Give Pop Art a New Twist.” San Diego Union 6 Oct. 1985: E1-E8.

Relyea, Lane. “Pick of the Week.” L.A. Weekly 20-26 Sept. 1985.

Rico, Diana. “Jacks o’ all lanterns.” Daily News (Oct. 1985): 1985.

Rugoff, Ralph. “High Art Meets Low Culture.” L.A. Style (Oct. 1985): 23-24.

Wortz, Melinda. “Mike Kelley at Rosemund Felsen Gallery.” Artforum (Dec. 1985): 94-95.

 

1984

Adams, Brooks. “Mike Kelley at Metro Pictures.” Art in America (Oct. 1984): 196-7.

Bankowsky, Jack. “Summer Show at Metro Pictures.” East Village Eye (Sept. 1984): 50.

_______. “Mark Kostabi and Mike Kelley.” New York Native 17 Dec. 1984: 53.

Burkhart, Kathe. “Nuclear Cheesecake.” High Performance 28 (1984): 68-69.

Drohojowska, Hunter. “First Newport Biennial, 1984: Los Angeles Today.” L.A. Weekly 26 Oct.-1 Nov. 1984.

Drohojowska, Hunter. “Artists the Critics are Watching.” Art News (Nov. 1984): 90-92.

_______. “Godzilla Returns in Multimedia Theater.” Los Angeles Herald Examiner 2 Nov. 1984: 36.

_______. “Mike Kelley at the Rosamund Felsen Gallery.” L.A. Weekly 20-26 Apr. 1984.

Gardner, Colin. “Newport Harbor Biennial—The Today Show.” Los Angeles Reader 16 Nov. 1984.

_______. “From the Ridiculous to the Sublime.” Los Angeles Reader 23 Mar. 1984.

Handy, Ellen. “Mike Kelley.” Arts Magazine (Apr. 1984): 41.

Howell, John. “Mike Kelley.” New York Beat (Feb.-Mar. 1984).

Knight, Christopher. “Artist Mike Kelley Redefines ‘Sublime’.” Los Angeles Herald Examiner 8 Apr. 1984: E2.

_______. “It’s Art, Plain and Simple, at Newport.” Los Angeles Herald Examiner 28 Oct. 1984.

Lasarow, Bill. “Michael Kelley.” Artscene (Apr. 1984).

Muchnic, Suzanne. “Mike Kelley.” Los Angeles Times 30 Mar. 1984.

Norklun, Kathi. “Performance Archeology.” Artweek 14 Apr. 1984.

_______. “The Flow of Belief: Can Art Replace Wrong-Headed Thinking?” High Performance 26 (1984): 36-37.

Pate, Pattie. “Eight Idiosyncrasies.” Artweek 3 Mar. 1984.

Pincus, Robert L. “Sublime Antics Create a Deflating Experience.” Los Angeles Times 17 Mar. 1984.

Wilson, William. “It’s Neo-Ex Trick or Treat at Newport.” Los Angeles Times Calendar 14 Oct. 1984.

 

1983

Gardner, Colin. “Out of the Frog.” Artweek 12 Mar. 1983: 13.

Howell, John. “Art Takes 1: Mike Kelley.” New York Beat (Mar. 1983).

Knight, Christopher. “Mike Kelley Turns Confusion into Art.” Los Angeles Herald Examiner 27 Mar. 1983: E4.

Levin, Kim. “An Opinionated Survey of the Week’s Events: Art.” The Village Voice 15-21 Feb. 1983.

Norklun, Kathi. “Pick of the Week.” L.A. Weekly 25-31 Mar. 1983.

Pincus, Robert L. “The Art, Analysis of ‘Monkey Island.” Los Angeles Times 4 Mar. 1983.

_______. “Mike Kelley.” Los Angeles Times 25 Mar. 1983.

_______. “Michael Kelley at Beyond Baroque and Rosamund Felsen.” Art in America (Sept. 1983): 181.

Schillaci, Daniel. “Inquiring into the Mystery of Perception.” Cal Arts Today (Sept. 1983): 10-11.

 

1982

Eisenman, Stephan F. “Mike Kelley.” Arts Magazine (Nov. 1982): 57.

Hawley, David. “Stage Series Off to Confusing Start.” St. Paul Dispatch 15 Apr. 1982: 14B.

Owens, Craig. “Back to the Studio.” Art in America (Jan. 1982).

Princenthal, Nancy. “Gallery Installations: Performance in Place.” Alive Magazine (Nov.-Dec. 1982): 44-45.

 

1981

Ames, Richard. “Shows reflect contemporary scene.” Arts/artists 4 Apr. 1981 : C-16.

Ballatore, Sandy. “High Points, Low Points, No Points.” Images & Issues (Feb. 1981).

Hertz, Richard. “L.A. Flesh Art.” High Performance (Feb. 1981).

Knight, Christopher. “A Meeting of Media.” Los Angeles Herald Examiner, California Living Magazine 22 Nov. 1981.

Pincus, Robert L. “Mike Kelley.” Los Angeles Times 16 June 1981.

Rickey, Carrie. “Art Attack.” Art in America (May 1981): 41-48.

Singerman, Howard. “The Artist as Adolescent.” Real Life (Summer 1981): 78.

_______. “Michael Kelley: Reflections on a Can of Vernors.” Artforum (Dec. 1981).

Wortz, Melinda. “Time, Space and the Freeway.” Art News (Sept. 1981).

 

1980

Beal, Suzy. “Mike Kelley’s Trip.” Pro-Fun Magazine (Apr. 1980): 15.

Sisco, Liz. “A Review of Mike Kelley’s Performance.” The Vis Arts Newspaper 2 16 June 1980.

 

1979

Armstrong, Richard. “Michael Kelley’s Performance: A Healthful Activity?” Journal: Southern California Art Magazine 22 (Mar. 1979): 50-53.

_______. “Mike Kelley.” Artforum (Nov. 1979): 75-78.

Singerman, Howard. “Self-Expression Seventies Style.” Artweek 14 July 1979: 3.

FILM AND VIDEO INTERVIEWS and FEATURES

 

2007

“Skulptur Projekte Munster 07.” Film by Jörg Jung and Ralf Raimo. A contribution of ARD/WDR/3sat. Airing on 3SAT German television, 2007.

 

2005

“Imagining America: Icons of 20th Century American Art.” Film by John Carlin, Jonathan Friedberg and Hart Perry. Produced by Perry Films and Muse Film and Television Inc. in association with Funny Garbage and Public Media, Inc. Airing on PBS through South Carolina Educational Television, 2005.

“Jack Smith and the Destruction of Atlantis.” Executive Producer, Kenneth Wayne Peralta. Produced and directed by Mary Jordan. Tongue Press, Locusta Penguina and Monk Media, 2005.

“This Not That: John Baldessari; Pionier de Konzeptkunst.” Film by Jan Schmidt-Garre. Produced by PARS Media, coproduced ZDF/3sat and SF-DRS, 2005.

“Memory.” Art 21. Executive Producer Susan Sollins. PBS, 2005.