Status
On-site use
Call number
Collection
Local notes
Catalog of an exhibition held at Stedelijk Museum, Amsterdam (Netherlands), Dec. 15, 2012-Apr. 1, 2013; Centre Pompidou, Paris (France), May 2-Aug. 5, 2013; MoMA PS1, New York, Oct. 13-Feb. 2, 2014; The Museum of Contemporary Art, Los Angeles, Mar. 23-Jul. 28, 2014.
Kelley, Mike and Eva Meyer-Hermann. "Interview with Mike Kelley." pp. 366-381.
Artwork(s) illustrated:
Kelley, Mike. (1987). Animal Self and Friend of the Animals. cover, p. 98.
______. (2011). Kandor 10B (Exploded Fortress of Solitude). p. 3, pp. 274-275.
______. (1981). The Logo on a Can of Vernors Drawn from Memory. p. 4, p. 41.
______. (1999). Framed and Frame (Miniature Reproduction “Chinatown Wishing Well” built by Mike Kelley after “Miniature Reproduction ‘Seven Star Cavern’ Built by Prof H. K. Lu”). p. 6, pp. 228-229.
______. (2001). Black Out (Detroit River). pp. 8-9, p. 238.
Destroy All Monsters Collective. (2000). Strange Früt: Rock Apocrypha (installation). pp. 16-17.
______. (1978). Main Prop (Indianana) [part of Performance Related Objects]. p. 18.
______. (1998). Performance Related Objects. p. 19.
______. (1977-1978). Perspectaphone. p. 20.
______. (1977). Moaning Drum. p. 20.
______. (1977-1978). Nest. p. 21.
______. (1979). Big Tent Prop. p. 21.
______. (1982). Amber-Gray. p. 21.
______. (1977-1978). Bouncing Sheep Head. p. 22.
______. (1978). Two Sound Producing Objects From A Dream 1977-78. p. 22.
______. (1978). Spirit Collector [part of Performance Related Objects]. p. 23.
______. (1979). The Monitor and the Merrimac (Performance Prop Models). p. 23.
______. (1979/2005). The Monitor and the Merrimac (Three Leitmotifs). p. 23.
______. (1978). Catholic Birdhouse. p. 25.
______. (1978). Birdhouse for a Bird that is Near and a Bird That is Far. p. 26.
______. (1978). Title Drawing for Birdhouse for a Bird that is Near and a Bird That is Far. p. 26.
______. (1978). Title Drawing for Wide Bird to Tall Bird Birdhouse. p. 27.
______. (1978). Wide Bird to Tall Bird. p. 27.
______. (1979). Birdhouse with an Egg Chute. p. 28.
______. (1978). Gothic Birdhouse. p. 29.
______. (1978). Oracle at Delphi. p. 30.
______. (1978). Perspectaphone. p. 30.
______. (1978-1979). Tube Music: Unstoppable Force vs Immovable Object [part of Performance Related Objects]. p. 31.
______. (1978). Spirit Voices. p. 31.
______. (1978). Indianana. p. 32.
______. (1979). The Big Tent. p. 33.
______. (1979). The Monitor and the Merrimac. p. 33.
______. (1980). The Parasite Lily. p. 33.
Kelley, Mike, Bob Flanagan and Sheree Rose. (1991). Video production still from 100 Reasons. p. 34.
Kelley, Mike. (1980). Three Valleys. p. 34.
______. (1977-1979). Two Machines for the Intellect [part of Performance Related Objects]. p. 34.
Kelley, Mike and Paul McCarthy. (1998). Production still from Sod and Sodie Sock Comp OSO (Edition). p. 35, pp. 210-211.
Kelley, Mike. (1979). The Poltergeist. p. 36.
______. (1980/2011). The Little Girl’s Room. pp. 38-39.
______. (1980). The Future. p. 40.
______. (1980). The Past. p. 40.
______. (1981). Early American Landscape #1. p. 41.
______. (1981). Early American Landscape #2. p. 41.
______. (1983). Video production stills from The Banana Man. p. 42.
______. (1981-1982). Studies for “The Banana Man" video. pp. 44-45.
Installation view of Confusion exhibition at Mandeville Art Gallery at University of California, San Diego, 1982. p. 46.
Kelley, Mike. (1982/83). Confusion: A Play in Seven Sets, Each Set More Spectacular and Elaborate Than the Last. p. 47.
______. (1982). Cluck Cluck Croak Croak. p. 48.
______. (1982). Untitled Photograph. p. 49.
Installation view of Monkey Island exhibition at Rosamund Felsen Gallery, Los Angeles, Mar. 13-Apr. 16, 1983. p. 50.
Kelley, Mike. (1982-83). Monkey Island (Los Angeles Zoo #1). p. 51.
______. (1982-83). Compound Eye. p. 52.
______. (1982). Fence Figure / Compound Eye. p. 52.
______. (1982-83). The Bug Eye. p. 53.
______. (1982). Expansions. p. 53.
______. (1982-83). Travelogue.. pp. 54-55.
______. (1982). Ambergris Landscape and Mercurochrome. p. 56.
______. (1982-83). The Bells. p. 57.
______. (1982-83). The Tiny Insect Magnified Becomes It's Own Farm. p. 57.
______. (1982-83). Symmetrical Sets. p. 58.
______. (1982-83). Shock. p. 59.
______. (1982). Cell Dividing. p. 60.
______. (1985). Monkey Island Part II. p. 60.
______. (1982-83). The Landscape Figure. p. 61.
Installation view of The Sublime exhibition at Rosamund Felsen Gallery, Los Angeles, Mar. 24-Apr. 21, 1984. p. 62.
Kelley, Mike. (1983). The Sublime/The Sublime Framed. p. 63.
______. (1983). The One-Eyed Parrot. p. 64.
______. (1984). Janitorial Banner. p. 64.
Kelley, Mike and Ed Gierke and Mary Woronov. (1984). The Sublime. p. 65.
Kelley, Mike. (1984). Know Nothing. p. 66.
______. (1984). If You Don’t Want to Know the Definition Don’t Open The Dictionary. p. 67.
______. (1984). The Silent Scream. p. 68.
______. (1983). Infinite Expansion. p. 69.
______. (1984). Australiana. p. 70.
______. (1984). Junior High Notebook Cover. p. 71.
______. (1985). Screamin’ Smoke. p. 72.
______. (1985). Sic Semper Tyrannis. p. 73.
______. (1985/1996). The Trajectory of Light in Plato's Cave. pp. 73-75.
______. (1985). Nazi War Cave #1. p. 76.
______. (1986). Nazi War Cave #2. p. 76.
______. (1986). Trickle Down and Swaddling Clothes. p. 77.
______. (1985). A Hippie’s Bedroom. p. 78.
______. (1985). Freedom. p. 78.
______. (1986). Untitled. p. 78.
______. (1985). Lincoln's Beacon. p. 79.
______. (1985). Rainbow Coalition. p. 79.
______. (1986). Twinkling Coppers. p. 79.
______. (1985). Alphabet and Bee Beard. pp. 80-81.
______. (1986). Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (Performance). pp. 82-83.
______. (1989). Eviscerated Corpse. p. 84.
______. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. pp. 86-87.
______. (1989). Estral Star #3. p. 88.
______. (1989). Manly Craft #2. p. 88.
______. (1989). Number One and Number Two. p. 88.
______. (1990). Four Wire Sculptures. p. 89.
______. (1990). Arena #10 (Dogs). p. 90.
______. (1990). Arena #8 (Leopard). p. 90.
______. (1990). Ouija. p. 91.
______. (1990). Mooner. p. 91.
______. (1990). Arena #7 (Bears). p. 92.
______. (1991). Dialogue #5 (One Hand Clapping). p. 92.
______. (1991). Brown Star. p. 93.
______. (1991-1999). Deodorized Central Mass With Satellites. pp. 94-95.
______. (1991). Pink and Gray. p. 96.
______. (1991). Citrus and White. p. 97.
______. (1987). Black-Eyed Susan. p. 99.
______. (1987). Let's Talk. p. 99.
______. (1987). Three Point Program / Four Eyes. p. 99.
______. (1987). Trash Picker. p. 99.
______. (1989). Ascending Hosts. p. 100.
______. (1989). Descending Order. p. 100.
______. (1989). Stained Glass Mattress. p. 101.
______. (1988). Wallflowers. pp. 102-103.
______. (1989). Pagan Altar. p. 104.
______. (1987). Antiqued (Prematurely Aged). p. 105.
______. (1978). Diagram for My Space Performance. p. 107.
______. (1978). Worldly Problems. p. 108.
______. (1978). A Really Big Mess. p. 109.
______. (1980/2011). Oh, The Pain Of It All. p. 110.
______. (1990). Jesse Helms Protest Sign. p. 111.
______. (1995). Notebook Sketch for Entry Way (Victim Culture). p. 112.
______. (1995). Notebook Sketch for Entry Way (Genealogical Chart). p. 113.
______. (1995). Notebook Drawing (Related to Educational Complex). p. 114.
______. (Date unknown). Schematic Architecture 30 (Petting Zoo). p. 115.
______. (Date unknown). Schematic Architecture 6 (Kelley Family Bathroom). p. 115.
______. (Date unknown). Schematic Architecture 1 (Kandor). p. 115.
______. (Date unknown). Schematic Architecture 3. p. 115.
Installation view of Mike Kelley exhibition at Jablonka Galerie, Cologne (Germany), Mar. 3-Apr. 1, 1989. p. 116.
Kelley, Mike. (1987). Hermaphrodite. p. 117.
______. (1987). Mommy's Penis. p. 117.
______. (1987). Utopia. p. 117.
______. (1988). Pay for Your Pleasure. pp. 180-121.
______. (1984). Loading Dock Drawing #1. p. 112, p. 352.
______. (1984). Loading Dock Drawing #2. p. 122.
______. (1984). Loading Dock Drawing #3. p. 122, p. 332.
______. (1984). Loading Dock Drawing #4. p. 122.
______. (1987/2003). From My Institution to Yours. p. 123.
______. (1988). Disembodied Militarism #1. p. 124.
______. (1988). Garbage Drawing #17. p. 125.
______. (1988). Garbage Drawing #25. p. 126.
______. (1988). Garbage Drawing #34. p. 126.
______. (1988). Garbage Drawing #36. p. 126.
______. (1988). Garbage Drawing #73. p. 126.
______. (1988). Garbage Drawing #58. p. 127.
______. (1988). Garbage Drawing #68. p. 127.
______. (1988). Garbage Drawing #71. p. 127.
______. (1989). Figure II (Hair). p. 128.
______. (1989). Girl. p. 128.
______. (1989). Ascending and Descending Testicles. p. 129.
______. (1989). Garbage Bag I. p. 130.
______. (1989). Garbage Bag V. p. 130.
______. (1989). Comedy and Tragedy Lung. p. 131.
______. (1989). Kissing Kidneys. p. 131.
______. (1989). Male and Female Brain Halves. p. 131.
______. (1989). Blood and Soil (Potato Print), from Pansy Metal/Clovered Hoof. p. 133.
______. (1989). Hangin’ - Heavy - Hairy - Horny, from Pansy Metal/Clovered Hoof. p. 134.
______. (1989). Twisted Shamrock, from Pansy Metal/Clovered Hoof. p. 134.
______. (1989). Unlucky Clover, from Pansy Metal/Clovered Hoof. p. 134.
______. (1989). Peat Spade, from Pansy Metal/Clovered Hoof. pp. 134.
______. (1989). Master Dik, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). Satan’s Nostrils, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). The Orange and Green, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). Country Cousin, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). Emerald Eyehole, from Pansy Metal/Clovered Hoof. p. 136.
______. (1989/2009). Pansy Metal / Clovered Hoof. p. 137.
______. (1989/2006). Liquid Diet. pp. 138-139.
______. (1989). Reconstructed History: The Lincoln Memorial. p. 140.
______. (1989). China Relief Expedition. p. 141.
______. (1989). Reconstructed History: Dancing The Quadrille. p. 142.
______. (1989). Reconstructed History: The Father of Our Country. p. 142.
______. (1989). With Malice Towards None; with Charity For All. p. 142.
______. (1989). Reconstructed History: The Capitol Building. p. 143.
______. (1989). Reconstructed History: The Gateway To Freedom. p. 143.
______. (1990). 5 Paragraphs and 3 Euphemisms. p. 144.
______. (1990). Carnival Time. p. 144.
______. (1990). Untitled (Yarn). pp. 144-145.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #5. p. 145.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #7. p. 145.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #3. p. 145.
______. (1990). Untitled (Female Roommate). p. 146.
______. (1990). Untitled (Pasolini). p. 146.
______. (1990). Untitled (Chokwe Lumumba). p. 147.
______. (1990). Manipulating Mass-Produced Idealized Objects. p. 148.
______. (1990). Nostalgic Depiction of the Innocence of Childhood. p. 148.
______. (1990). Alma Pater (Wolverine Den). p. 149.
______. (1991). Craft Morphology Flow Chart. pp. 150-151.
______. (1991). Proposal for the Decoration of an Island of Conference Rooms (With Copy Room) For an Advertising Agency Designed By Frank Gehry. pp. 152-155.
______. (1991). Ageistprop. pp. 156-57.
______. (1991). Lumpenprole. p. 156, p. 358.
______. (1991-1992). Riddle of the Sphinx. p. 158.
______. (1991-1992). Polish Joke (Floor Piece). p. 159.
______. (1991). Minor Infraction. p. 160.
______. (1991). Odorless Lump. p. 161.
______. (1991). Untitled (Communicating Vessels). p. 162.
______. (1991). Untitled (Liberal Puritan). p. 163.
______. (1991). Ahh...Youth!. p. 164.
______. (1991-1992). The John Reed Club. p. 165.
______. (1992). Orgone Shed Plans. p. 166.
______. (1992). Orgone Shed. p. 167, p. 169.
Kelley, Mike and Eva Meyer-Hermann. "Interview with Mike Kelley." pp. 366-381.
Artwork(s) illustrated:
Kelley, Mike. (1987). Animal Self and Friend of the Animals. cover, p. 98.
______. (2011). Kandor 10B (Exploded Fortress of Solitude). p. 3, pp. 274-275.
______. (1981). The Logo on a Can of Vernors Drawn from Memory. p. 4, p. 41.
______. (1999). Framed and Frame (Miniature Reproduction “Chinatown Wishing Well” built by Mike Kelley after “Miniature Reproduction ‘Seven Star Cavern’ Built by Prof H. K. Lu”). p. 6, pp. 228-229.
______. (2001). Black Out (Detroit River). pp. 8-9, p. 238.
Destroy All Monsters Collective. (2000). Strange Früt: Rock Apocrypha (installation). pp. 16-17.
______. (1978). Main Prop (Indianana) [part of Performance Related Objects]. p. 18.
______. (1998). Performance Related Objects. p. 19.
______. (1977-1978). Perspectaphone. p. 20.
______. (1977). Moaning Drum. p. 20.
______. (1977-1978). Nest. p. 21.
______. (1979). Big Tent Prop. p. 21.
______. (1982). Amber-Gray. p. 21.
______. (1977-1978). Bouncing Sheep Head. p. 22.
______. (1978). Two Sound Producing Objects From A Dream 1977-78. p. 22.
______. (1978). Spirit Collector [part of Performance Related Objects]. p. 23.
______. (1979). The Monitor and the Merrimac (Performance Prop Models). p. 23.
______. (1979/2005). The Monitor and the Merrimac (Three Leitmotifs). p. 23.
______. (1978). Catholic Birdhouse. p. 25.
______. (1978). Birdhouse for a Bird that is Near and a Bird That is Far. p. 26.
______. (1978). Title Drawing for Birdhouse for a Bird that is Near and a Bird That is Far. p. 26.
______. (1978). Title Drawing for Wide Bird to Tall Bird Birdhouse. p. 27.
______. (1978). Wide Bird to Tall Bird. p. 27.
______. (1979). Birdhouse with an Egg Chute. p. 28.
______. (1978). Gothic Birdhouse. p. 29.
______. (1978). Oracle at Delphi. p. 30.
______. (1978). Perspectaphone. p. 30.
______. (1978-1979). Tube Music: Unstoppable Force vs Immovable Object [part of Performance Related Objects]. p. 31.
______. (1978). Spirit Voices. p. 31.
______. (1978). Indianana. p. 32.
______. (1979). The Big Tent. p. 33.
______. (1979). The Monitor and the Merrimac. p. 33.
______. (1980). The Parasite Lily. p. 33.
Kelley, Mike, Bob Flanagan and Sheree Rose. (1991). Video production still from 100 Reasons. p. 34.
Kelley, Mike. (1980). Three Valleys. p. 34.
______. (1977-1979). Two Machines for the Intellect [part of Performance Related Objects]. p. 34.
Kelley, Mike and Paul McCarthy. (1998). Production still from Sod and Sodie Sock Comp OSO (Edition). p. 35, pp. 210-211.
Kelley, Mike. (1979). The Poltergeist. p. 36.
______. (1980/2011). The Little Girl’s Room. pp. 38-39.
______. (1980). The Future. p. 40.
______. (1980). The Past. p. 40.
______. (1981). Early American Landscape #1. p. 41.
______. (1981). Early American Landscape #2. p. 41.
______. (1983). Video production stills from The Banana Man. p. 42.
______. (1981-1982). Studies for “The Banana Man" video. pp. 44-45.
Installation view of Confusion exhibition at Mandeville Art Gallery at University of California, San Diego, 1982. p. 46.
Kelley, Mike. (1982/83). Confusion: A Play in Seven Sets, Each Set More Spectacular and Elaborate Than the Last. p. 47.
______. (1982). Cluck Cluck Croak Croak. p. 48.
______. (1982). Untitled Photograph. p. 49.
Installation view of Monkey Island exhibition at Rosamund Felsen Gallery, Los Angeles, Mar. 13-Apr. 16, 1983. p. 50.
Kelley, Mike. (1982-83). Monkey Island (Los Angeles Zoo #1). p. 51.
______. (1982-83). Compound Eye. p. 52.
______. (1982). Fence Figure / Compound Eye. p. 52.
______. (1982-83). The Bug Eye. p. 53.
______. (1982). Expansions. p. 53.
______. (1982-83). Travelogue.. pp. 54-55.
______. (1982). Ambergris Landscape and Mercurochrome. p. 56.
______. (1982-83). The Bells. p. 57.
______. (1982-83). The Tiny Insect Magnified Becomes It's Own Farm. p. 57.
______. (1982-83). Symmetrical Sets. p. 58.
______. (1982-83). Shock. p. 59.
______. (1982). Cell Dividing. p. 60.
______. (1985). Monkey Island Part II. p. 60.
______. (1982-83). The Landscape Figure. p. 61.
Installation view of The Sublime exhibition at Rosamund Felsen Gallery, Los Angeles, Mar. 24-Apr. 21, 1984. p. 62.
Kelley, Mike. (1983). The Sublime/The Sublime Framed. p. 63.
______. (1983). The One-Eyed Parrot. p. 64.
______. (1984). Janitorial Banner. p. 64.
Kelley, Mike and Ed Gierke and Mary Woronov. (1984). The Sublime. p. 65.
Kelley, Mike. (1984). Know Nothing. p. 66.
______. (1984). If You Don’t Want to Know the Definition Don’t Open The Dictionary. p. 67.
______. (1984). The Silent Scream. p. 68.
______. (1983). Infinite Expansion. p. 69.
______. (1984). Australiana. p. 70.
______. (1984). Junior High Notebook Cover. p. 71.
______. (1985). Screamin’ Smoke. p. 72.
______. (1985). Sic Semper Tyrannis. p. 73.
______. (1985/1996). The Trajectory of Light in Plato's Cave. pp. 73-75.
______. (1985). Nazi War Cave #1. p. 76.
______. (1986). Nazi War Cave #2. p. 76.
______. (1986). Trickle Down and Swaddling Clothes. p. 77.
______. (1985). A Hippie’s Bedroom. p. 78.
______. (1985). Freedom. p. 78.
______. (1986). Untitled. p. 78.
______. (1985). Lincoln's Beacon. p. 79.
______. (1985). Rainbow Coalition. p. 79.
______. (1986). Twinkling Coppers. p. 79.
______. (1985). Alphabet and Bee Beard. pp. 80-81.
______. (1986). Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (Performance). pp. 82-83.
______. (1989). Eviscerated Corpse. p. 84.
______. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. pp. 86-87.
______. (1989). Estral Star #3. p. 88.
______. (1989). Manly Craft #2. p. 88.
______. (1989). Number One and Number Two. p. 88.
______. (1990). Four Wire Sculptures. p. 89.
______. (1990). Arena #10 (Dogs). p. 90.
______. (1990). Arena #8 (Leopard). p. 90.
______. (1990). Ouija. p. 91.
______. (1990). Mooner. p. 91.
______. (1990). Arena #7 (Bears). p. 92.
______. (1991). Dialogue #5 (One Hand Clapping). p. 92.
______. (1991). Brown Star. p. 93.
______. (1991-1999). Deodorized Central Mass With Satellites. pp. 94-95.
______. (1991). Pink and Gray. p. 96.
______. (1991). Citrus and White. p. 97.
______. (1987). Black-Eyed Susan. p. 99.
______. (1987). Let's Talk. p. 99.
______. (1987). Three Point Program / Four Eyes. p. 99.
______. (1987). Trash Picker. p. 99.
______. (1989). Ascending Hosts. p. 100.
______. (1989). Descending Order. p. 100.
______. (1989). Stained Glass Mattress. p. 101.
______. (1988). Wallflowers. pp. 102-103.
______. (1989). Pagan Altar. p. 104.
______. (1987). Antiqued (Prematurely Aged). p. 105.
______. (1978). Diagram for My Space Performance. p. 107.
______. (1978). Worldly Problems. p. 108.
______. (1978). A Really Big Mess. p. 109.
______. (1980/2011). Oh, The Pain Of It All. p. 110.
______. (1990). Jesse Helms Protest Sign. p. 111.
______. (1995). Notebook Sketch for Entry Way (Victim Culture). p. 112.
______. (1995). Notebook Sketch for Entry Way (Genealogical Chart). p. 113.
______. (1995). Notebook Drawing (Related to Educational Complex). p. 114.
______. (Date unknown). Schematic Architecture 30 (Petting Zoo). p. 115.
______. (Date unknown). Schematic Architecture 6 (Kelley Family Bathroom). p. 115.
______. (Date unknown). Schematic Architecture 1 (Kandor). p. 115.
______. (Date unknown). Schematic Architecture 3. p. 115.
Installation view of Mike Kelley exhibition at Jablonka Galerie, Cologne (Germany), Mar. 3-Apr. 1, 1989. p. 116.
Kelley, Mike. (1987). Hermaphrodite. p. 117.
______. (1987). Mommy's Penis. p. 117.
______. (1987). Utopia. p. 117.
______. (1988). Pay for Your Pleasure. pp. 180-121.
______. (1984). Loading Dock Drawing #1. p. 112, p. 352.
______. (1984). Loading Dock Drawing #2. p. 122.
______. (1984). Loading Dock Drawing #3. p. 122, p. 332.
______. (1984). Loading Dock Drawing #4. p. 122.
______. (1987/2003). From My Institution to Yours. p. 123.
______. (1988). Disembodied Militarism #1. p. 124.
______. (1988). Garbage Drawing #17. p. 125.
______. (1988). Garbage Drawing #25. p. 126.
______. (1988). Garbage Drawing #34. p. 126.
______. (1988). Garbage Drawing #36. p. 126.
______. (1988). Garbage Drawing #73. p. 126.
______. (1988). Garbage Drawing #58. p. 127.
______. (1988). Garbage Drawing #68. p. 127.
______. (1988). Garbage Drawing #71. p. 127.
______. (1989). Figure II (Hair). p. 128.
______. (1989). Girl. p. 128.
______. (1989). Ascending and Descending Testicles. p. 129.
______. (1989). Garbage Bag I. p. 130.
______. (1989). Garbage Bag V. p. 130.
______. (1989). Comedy and Tragedy Lung. p. 131.
______. (1989). Kissing Kidneys. p. 131.
______. (1989). Male and Female Brain Halves. p. 131.
______. (1989). Blood and Soil (Potato Print), from Pansy Metal/Clovered Hoof. p. 133.
______. (1989). Hangin’ - Heavy - Hairy - Horny, from Pansy Metal/Clovered Hoof. p. 134.
______. (1989). Twisted Shamrock, from Pansy Metal/Clovered Hoof. p. 134.
______. (1989). Unlucky Clover, from Pansy Metal/Clovered Hoof. p. 134.
______. (1989). Peat Spade, from Pansy Metal/Clovered Hoof. pp. 134.
______. (1989). Master Dik, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). Satan’s Nostrils, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). The Orange and Green, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). Country Cousin, from Pansy Metal/Clovered Hoof. p. 135.
______. (1989). Emerald Eyehole, from Pansy Metal/Clovered Hoof. p. 136.
______. (1989/2009). Pansy Metal / Clovered Hoof. p. 137.
______. (1989/2006). Liquid Diet. pp. 138-139.
______. (1989). Reconstructed History: The Lincoln Memorial. p. 140.
______. (1989). China Relief Expedition. p. 141.
______. (1989). Reconstructed History: Dancing The Quadrille. p. 142.
______. (1989). Reconstructed History: The Father of Our Country. p. 142.
______. (1989). With Malice Towards None; with Charity For All. p. 142.
______. (1989). Reconstructed History: The Capitol Building. p. 143.
______. (1989). Reconstructed History: The Gateway To Freedom. p. 143.
______. (1990). 5 Paragraphs and 3 Euphemisms. p. 144.
______. (1990). Carnival Time. p. 144.
______. (1990). Untitled (Yarn). pp. 144-145.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #5. p. 145.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #7. p. 145.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #3. p. 145.
______. (1990). Untitled (Female Roommate). p. 146.
______. (1990). Untitled (Pasolini). p. 146.
______. (1990). Untitled (Chokwe Lumumba). p. 147.
______. (1990). Manipulating Mass-Produced Idealized Objects. p. 148.
______. (1990). Nostalgic Depiction of the Innocence of Childhood. p. 148.
______. (1990). Alma Pater (Wolverine Den). p. 149.
______. (1991). Craft Morphology Flow Chart. pp. 150-151.
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Publication
Munich : Prestel Pub., 2012.
Language
ISBN
3791352415 / 9783791352411