COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0001163
image_record_id
aahi0001163
Image Record ID
false
Work Title (display):
Spirit Collector
Image Title:
performance view
Work Dates (display):
1978
Work Dates type:
performance
Image Date (display):
2007-11-27
Work Creator (display):
Mike Kelley (American, 1954-2012)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American performance and installation artist. He completed a BFA at the University of Michigan School of Art, Ann Arbor (19726), and an MFA at the California Institute of the Arts, Valencia (19768), after which he settled in Los Angeles. As a student at Cal Arts, Kelley was influenced by the conceptual approach taken by teachers such as Jonathon Borofsky, John Baldessari and Douglas Huebler. His intense early performances were also affected by the rock band he formed in late 1974, Destroy All Monsters, and by the stage manner and music of jazz musicians such as Sun Ra. His first acclaimed performance work, staged in Los Angeles in collaboration with David Askevold in 1979, was Poltergeist; it included photographs, objects and black-and-white drawings combining image and text in comic-book style. Subsequent major performances include Monkey Island (19823) and Plato's Cave, Rothko's Chapel, Lincoln's Profile (1985). The counter-cultural, critical energy and concentration on themes of dysfunctionality and repression in his early works became more focused in the mid-1980s, when he began working with found objects, specifically soft toys. In 1987 he made More Love Hours Than Can Ever Be Repaid (handmade craft items and afghans sewn onto canvas, 2.44×3.22×0.15 m; New York, Whitney), a typically complex reflection on the way such tokens and totems of affection can be invested with desire and repression, and can form part of a person's psychological development. In contrast to earlier work in which his individuality would be complicated and obscured, biography became increasingly important for Kelley in the 1990s, albeit an openly fabricated biography. In 1995 he produced an architectural model of the institutions in which he had studied, Educational Complex (acrylic, latex, foamcore, fibreglass, wood, 1.22×0.98×0.92 m; New York, Whitney) based on incomplete memories. The sections that were missing suggested areas in which trauma events occurred, referred to by Kelley as 'repressed space'. By basing his work on a regression to troubled periods in childhood and adolescence, he underlines his view of art as a dysfunctional reality which, through a re-enactment of traumatic events, can have therapeutic ends. He is also known for his extensive writings, which take the form of pieces used within his performances and interpretations of his work, as well as more general art-critical texts. (Grove Art Online Accessed 2008-01-30)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Worktype:
performance art
work_type
performance art
Work Worktype
false
Work Category (VRC classification):
performance
work_category__ucbaahvrc_classification_
performance
Work Category (VRC classification)
false
Work Location (Repository or Site) name:
Los Angeles Contemporary Exhibitions
Work Location (Repository or Site) role:
performance
Work Location (Geographic) name:
Los Angeles, California
Image Source Reproduction citation:
Out of Actions, 1998 (unconfirmed)
image_source_copy_from_print_name
Out of Actions, 1998 (unconfirmed)
Image Source Reproduction citation
false
Image Rights (display):
unknown
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Mike Kelley
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see