Status
On-site use
Call number
Collection
Local notes
Volume(s) include:
vol. 43, no. 640 (Jul. 1991) — "Special Feature: West Coast Art at the End of this Century." pp. 40-48.
Artwork(s) illustrated:
Kelley, Mike. (1990). Snowflake (Center and Peripheries #3). p. 9, p. 46.
______. (1984). The Face of Man. p. 46.
______. (1990). Arena #7 (Bears). p. 47.
______. (1990). Yarn #2. p. 47.
______. (1989). Emerald Eyehole, from Pansy Metal / Clovered Hoof. p. 82.
______. (1989). The Orange and Green, from Pansy Metal / Clovered Hoof. p. 82.
______. (1990). Untitled (Yarn). p. 145.
vol. 46, no. 685 (Mar. 1994) — Fujimori, Manami. "Special Feature: Professional Curators: U.S.A." pp. 15-31.
Artwork(s) illustrated:
Installation view of Mike Kelley exhibition at the Whitney Museum of Art, New York, Nov. 5, 1993-Feb. 20, 1994. p. 20.
Kelley, Mike. (1988). Pay for Your Pleasure. p. 21.
vol. 46, no. 687 (Apr. 1994) — Fujimori, Manami. "Foreign Artist: Mike Kelley." pp. 114-122.
Artwork(s) illustrated:
Installation view of Mike Kelley exhibition at the Whitney Museum of Art, New York, Nov. 5, 1993-Feb. 20, 1994. p. 116,121.
Kelley, Mike. (1992). Colema Bench. p. 116.
______. (1985). Alphabet and Bee Beard. p. 116.
______. (1985). Sic Semper Tyrannis. p. 116.
______. (1988). Garbage Drawings #1 - #74. p. 117.
______. (1982-83). Detail of Shock. p. 117.
______. (1983). Laugh Riot. p. 118.
Kelley, Mike and Paul McCarthy. (1992). Video production stills from Heidi. p. 119.
Kelley, Mike. (1990). Fruit of Thy Loins. p. 120.
______. (1991). Dialogue #2 (Transparent White Glass/ Transparent Black Glass). p. 120.
______. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. p. 121.
vol. 49, no. 737 (Feb. 1997) — Ferguson, Russell. "Special Feature: Mike Kelley and L.A. Art Scene." [includes Mike Kelley and Destroy All Monsters interviews.] pp.16-80.
Artwork(s) illustrated:
Kelley, Mike. (1994). Untitled #9. cover.
______. (1986). Detail of Stem of the Thorny Rose/ Alphabet II. p. 16.
______. (1985). Alphabet and Bee Beard [inverted]. p. 17.
______. (1996). Slightly Psychedelic Depiction of The Sexualized Land-O-Lakes Girl (High Priestess). p. 20.
______. (1996). Straight Depiction of the Chaste (Unfolded) Land-O-Lakes Girl (Debuttered). p. 21.
______. (1994). The Thirteen Seasons (Heavy on the Winter) #3: What‘s Limp in 3-D is Erect in 2D. p. 22.
______. (1995). Castrati Satan. p. 23.
______. (1994). Silver Ball. pp. 24-25.
______. (1991). Dialogue #6 (An Example of Reflection or Absorption). p. 25.
______. (1991). Reciprocal Relationship. p. 26.
______. (1991). Symbiotic Relationships. p. 27.
______. (1994). Channel One, Channel Two, and Channel Three. p. 28.
______. (1989). The Statue of Liberty. p. 28.
______. (1991). Lumpenprole. p. 28.
______. (1987). Plush Kundalini and Chakra Set. p. 28.
______. (1990). Star. p. 28.
______. (1986). Rainbow of Death. p. 29.
Installation view of Mike Kelley exhibition at Kunsthalle Basel, Basel (Switzerland), Apr. 5-May 24, 1992. p. 29.
Kelley, Mike. (1992). Brown is the Color of My True Love’s Soul. p. 29.
______. (1995). Cornholier Than Thou. p. 29.
______. (1988). Garbage Drawing #24 [rotated]. p. 29.
Installation view of Avant-Garde in the Eighties exhibition at Los Angeles County Museum of Art, Los Angeles, Apr. 23-Jul. 12, 1987. p. 32.
Kelley, Mike. (1976). Painting with Hawaiian Mask, Ballerina, and De Stijl Painting. p. 32.
______. (1978). Catholic Birdhouse. p. 34.
______. (1978). Indianana. p. 34.
______. (1986). Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (Performance). p. 34, 67.
______. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. p. 36.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #5. p. 36.
______. (1991). Craft Morphology Flow Chart. p. 36.
Installation view of Mike Kelley: The Uncanny exhibition at Gemeentemuseum, Arnhem (Netherlands), Jun. 5-Sept. 26, 1993. p. 36.
Kelley, Mike. (1995). Educational Complex. p. 36.
______. (1991). Ahh...Youth!. p. 66.
______. (1990). Nostalgic Depiction of the Innocence of Childhood. p. 66.
vol. 60, no. 906 (Apr. 2008) — "The Encyclopedia of Modern and Contemporary Art. Forty Themes by Keywords: Neo Pop/Simulationism"
Artwork(s) illustrated:
Kelley, Mike. (1989). Estral Star #1. p. 104.
vol. 62, no. 933 (Feb. 2010) — Omori, Toshikatsu. "Contemporary Artists Files, 1980-2010. Step 1: In Focus Artists of Our Time, Mike Kelley." pp. 80-81.
Kelley, Mike. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. p. 80.
Installation view of Mike Kelley: Day is Done exhibition at Gagosian Gallery, New York, Nov. 11-Dec. 17, 2005. p. 81.
Kelley, Mike. (1978/2009). Detail from Ectoplasm Photographs. p. 81.
______. (2007-2009). City 3 (4/5). p. 81.
vol. 65, no. 984 (May 2013) — Matsui, Madori. "Curator Interview: Elisabeth Sussman." pp. 161-175.
Artwork(s) illustrated:
Installation view of Mike Kelley exhibition at the Whitney Museum of Art, New York, Nov. 5, 1993-Feb. 20, 1994. p. 164.
Kelley, Mike. (1988). Pay for Your Pleasure. p. 164.
Destroy All Monsters Collective (2000). "Mall Culture" from Strange Früt: Rock Apocrypha. p. 168.
Kelley, Mike. (2010-2011). Video production stills from Mobile Homestead documentary videos (Mobile Homestead Christening Ceremony and Launch, September 25th, 2010; Going West on Michigan Avenue from Downtown Detroit to Westland; Going East on Michigan Avenue from Westland to Downtown Detroit)." pp. 170-171.
______. (2005-2013). Digital rendering by Escher GuneWardena Architecture of Mobile Unit, Ground Level and photograph of Mobile Homestead. p. 172.
vol. 65, no. 987 (Jul. 2013) — Omori, Toshikatsu. "Contemporary Fine Arts." pp.114-130.
Artwork(s) illustrated:
Kelley, Mike. (2010). Memory Ware #60. p. 115.
______. (1979). Ectoplasm #1, A Child of The Mind, from The Poltergeist. p. 117.
______. (1994). The Thirteen Seasons (Heavy on the Winter) #11: The Giving Old Man. p. 119.
Kelley, Mike and Paul McCarthy. (1998). Sod and Sodie Sock Comp OSO (Edition). p. 120.
Kelley, Mike. (1995/2007). Abuse Report. p. 122.
______. (1998). Sublevel. p. 125.
vol. 65, no. 993 (Oct. 2013) — Omori, Toshikatsu. "Contemporary Fine Arts." pp. 102-119.
Artwork(s) illustrated:
Kelley, Mike. (2005-2013). Mobile Homestead. p. 103.
______. (1995). Timeless/Authorless #8. p. 104.
______. (2005/2006). Video still from Day Is Done (Extracurricular Activity Projective Reconstructions #2-32). p. 106.
______. (2010). Detail from Extracurricular Activity Projective Reconstruction #34 (The King and Us/The Queens and Me). p. 107.
______. (1995). Detail from Educational Complex. p. 109.
______. (2005-2013). Rendering of Mobile Homestead. p. 111.
______. (2006). Rose Hobart II. p. 112.
______. (2011). Kandor 10B (Exploded Fortress of Solitude) [interior view]. p. 114.
Installation view of Mike Kelley: Exploded Fortress of Solitude exhibition at Gagosian Gallery, Britannia Street, London (England), Sept. 8-Oct. 22, 2011. p. 117.
vol. 43, no. 640 (Jul. 1991) — "Special Feature: West Coast Art at the End of this Century." pp. 40-48.
Artwork(s) illustrated:
Kelley, Mike. (1990). Snowflake (Center and Peripheries #3). p. 9, p. 46.
______. (1984). The Face of Man. p. 46.
______. (1990). Arena #7 (Bears). p. 47.
______. (1990). Yarn #2. p. 47.
______. (1989). Emerald Eyehole, from Pansy Metal / Clovered Hoof. p. 82.
______. (1989). The Orange and Green, from Pansy Metal / Clovered Hoof. p. 82.
______. (1990). Untitled (Yarn). p. 145.
vol. 46, no. 685 (Mar. 1994) — Fujimori, Manami. "Special Feature: Professional Curators: U.S.A." pp. 15-31.
Artwork(s) illustrated:
Installation view of Mike Kelley exhibition at the Whitney Museum of Art, New York, Nov. 5, 1993-Feb. 20, 1994. p. 20.
Kelley, Mike. (1988). Pay for Your Pleasure. p. 21.
vol. 46, no. 687 (Apr. 1994) — Fujimori, Manami. "Foreign Artist: Mike Kelley." pp. 114-122.
Artwork(s) illustrated:
Installation view of Mike Kelley exhibition at the Whitney Museum of Art, New York, Nov. 5, 1993-Feb. 20, 1994. p. 116,121.
Kelley, Mike. (1992). Colema Bench. p. 116.
______. (1985). Alphabet and Bee Beard. p. 116.
______. (1985). Sic Semper Tyrannis. p. 116.
______. (1988). Garbage Drawings #1 - #74. p. 117.
______. (1982-83). Detail of Shock. p. 117.
______. (1983). Laugh Riot. p. 118.
Kelley, Mike and Paul McCarthy. (1992). Video production stills from Heidi. p. 119.
Kelley, Mike. (1990). Fruit of Thy Loins. p. 120.
______. (1991). Dialogue #2 (Transparent White Glass/ Transparent Black Glass). p. 120.
______. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. p. 121.
vol. 49, no. 737 (Feb. 1997) — Ferguson, Russell. "Special Feature: Mike Kelley and L.A. Art Scene." [includes Mike Kelley and Destroy All Monsters interviews.] pp.16-80.
Artwork(s) illustrated:
Kelley, Mike. (1994). Untitled #9. cover.
______. (1986). Detail of Stem of the Thorny Rose/ Alphabet II. p. 16.
______. (1985). Alphabet and Bee Beard [inverted]. p. 17.
______. (1996). Slightly Psychedelic Depiction of The Sexualized Land-O-Lakes Girl (High Priestess). p. 20.
______. (1996). Straight Depiction of the Chaste (Unfolded) Land-O-Lakes Girl (Debuttered). p. 21.
______. (1994). The Thirteen Seasons (Heavy on the Winter) #3: What‘s Limp in 3-D is Erect in 2D. p. 22.
______. (1995). Castrati Satan. p. 23.
______. (1994). Silver Ball. pp. 24-25.
______. (1991). Dialogue #6 (An Example of Reflection or Absorption). p. 25.
______. (1991). Reciprocal Relationship. p. 26.
______. (1991). Symbiotic Relationships. p. 27.
______. (1994). Channel One, Channel Two, and Channel Three. p. 28.
______. (1989). The Statue of Liberty. p. 28.
______. (1991). Lumpenprole. p. 28.
______. (1987). Plush Kundalini and Chakra Set. p. 28.
______. (1990). Star. p. 28.
______. (1986). Rainbow of Death. p. 29.
Installation view of Mike Kelley exhibition at Kunsthalle Basel, Basel (Switzerland), Apr. 5-May 24, 1992. p. 29.
Kelley, Mike. (1992). Brown is the Color of My True Love’s Soul. p. 29.
______. (1995). Cornholier Than Thou. p. 29.
______. (1988). Garbage Drawing #24 [rotated]. p. 29.
Installation view of Avant-Garde in the Eighties exhibition at Los Angeles County Museum of Art, Los Angeles, Apr. 23-Jul. 12, 1987. p. 32.
Kelley, Mike. (1976). Painting with Hawaiian Mask, Ballerina, and De Stijl Painting. p. 32.
______. (1978). Catholic Birdhouse. p. 34.
______. (1978). Indianana. p. 34.
______. (1986). Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile (Performance). p. 34, 67.
______. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. p. 36.
______. (1990). Empathy Displacement: Humanoid Morphology (2nd and 3rd Remove) #5. p. 36.
______. (1991). Craft Morphology Flow Chart. p. 36.
Installation view of Mike Kelley: The Uncanny exhibition at Gemeentemuseum, Arnhem (Netherlands), Jun. 5-Sept. 26, 1993. p. 36.
Kelley, Mike. (1995). Educational Complex. p. 36.
______. (1991). Ahh...Youth!. p. 66.
______. (1990). Nostalgic Depiction of the Innocence of Childhood. p. 66.
vol. 60, no. 906 (Apr. 2008) — "The Encyclopedia of Modern and Contemporary Art. Forty Themes by Keywords: Neo Pop/Simulationism"
Artwork(s) illustrated:
Kelley, Mike. (1989). Estral Star #1. p. 104.
vol. 62, no. 933 (Feb. 2010) — Omori, Toshikatsu. "Contemporary Artists Files, 1980-2010. Step 1: In Focus Artists of Our Time, Mike Kelley." pp. 80-81.
Kelley, Mike. (1987). More Love Hours than Can Ever Be Repaid and The Wages of Sin. p. 80.
Installation view of Mike Kelley: Day is Done exhibition at Gagosian Gallery, New York, Nov. 11-Dec. 17, 2005. p. 81.
Kelley, Mike. (1978/2009). Detail from Ectoplasm Photographs. p. 81.
______. (2007-2009). City 3 (4/5). p. 81.
vol. 65, no. 984 (May 2013) — Matsui, Madori. "Curator Interview: Elisabeth Sussman." pp. 161-175.
Artwork(s) illustrated:
Installation view of Mike Kelley exhibition at the Whitney Museum of Art, New York, Nov. 5, 1993-Feb. 20, 1994. p. 164.
Kelley, Mike. (1988). Pay for Your Pleasure. p. 164.
Destroy All Monsters Collective (2000). "Mall Culture" from Strange Früt: Rock Apocrypha. p. 168.
Kelley, Mike. (2010-2011). Video production stills from Mobile Homestead documentary videos (Mobile Homestead Christening Ceremony and Launch, September 25th, 2010; Going West on Michigan Avenue from Downtown Detroit to Westland; Going East on Michigan Avenue from Westland to Downtown Detroit)." pp. 170-171.
______. (2005-2013). Digital rendering by Escher GuneWardena Architecture of Mobile Unit, Ground Level and photograph of Mobile Homestead. p. 172.
vol. 65, no. 987 (Jul. 2013) — Omori, Toshikatsu. "Contemporary Fine Arts." pp.114-130.
Artwork(s) illustrated:
Kelley, Mike. (2010). Memory Ware #60. p. 115.
______. (1979). Ectoplasm #1, A Child of The Mind, from The Poltergeist. p. 117.
______. (1994). The Thirteen Seasons (Heavy on the Winter) #11: The Giving Old Man. p. 119.
Kelley, Mike and Paul McCarthy. (1998). Sod and Sodie Sock Comp OSO (Edition). p. 120.
Kelley, Mike. (1995/2007). Abuse Report. p. 122.
______. (1998). Sublevel. p. 125.
vol. 65, no. 993 (Oct. 2013) — Omori, Toshikatsu. "Contemporary Fine Arts." pp. 102-119.
Artwork(s) illustrated:
Kelley, Mike. (2005-2013). Mobile Homestead. p. 103.
______. (1995). Timeless/Authorless #8. p. 104.
______. (2005/2006). Video still from Day Is Done (Extracurricular Activity Projective Reconstructions #2-32). p. 106.
______. (2010). Detail from Extracurricular Activity Projective Reconstruction #34 (The King and Us/The Queens and Me). p. 107.
______. (1995). Detail from Educational Complex. p. 109.
______. (2005-2013). Rendering of Mobile Homestead. p. 111.
______. (2006). Rose Hobart II. p. 112.
______. (2011). Kandor 10B (Exploded Fortress of Solitude) [interior view]. p. 114.
Installation view of Mike Kelley: Exploded Fortress of Solitude exhibition at Gagosian Gallery, Britannia Street, London (England), Sept. 8-Oct. 22, 2011. p. 117.
Publication
Tōkyō : Bijutsu Shuppansha, 1988-