This bibliography was compiled by Eva Meyer-Hermann for Mike Kelley (New York: Delmonico Books/Prestel 2013) and has been revised and updated by the Mike Kelley Foundation for the Arts.

Monographs, Artist’s Books, and Other Publications

1986

Kelley, Mike. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. Venice, California: New City Editions; New York, New York: Artists Space, 1986. Artist’s book published on the occasion of the 1985 group exhibition Art in the Anchorage.

1988

Kelley, Mike, John Miller, and Howard Singerman, eds. Mike Kelley: Three Projects: Half a Man, From My Institution to Yours, Pay For Your Pleasure. Chicago, Illinois: The Renaissance Society at the University of Chicago, 1988. Exh. cat.

1989

Knight, Christopher. Mike Kelley. Cologne, Germany: Jablonka Galerie, 1989. Exh. cat.

1990

Kelley, Mike. Reconstructed History. Cologne, Germany: Galerie Gisela Capitain; New York, New York: Thea Westreich, 1990. Artist’s book.

1991

Cruz, Amada. Mike Kelley: Half a Man. Washington, D.C.: Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, 1991. Exh. cat.

1992

Bartman, William S., and Miyoshi Barosh, eds. Mike Kelley. New York, New York: Art Resources Transfer, 1992.

Mike Kelley. Basel, Switzerland: Kunsthalle Basel; Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz. 1992. Exh. cat.

Paul McCarthy / Mike Kelley:Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone. Vienna, Austria: Galerie Kinzinger, 1992. Exh. cat.

1993

Kelley, Mike. The Uncanny. Arnhem, The Netherlands: Gemeentemuseum, 1993. Published concurrently with the 1993 group exhibition Sonsbeek ’93. Exh. cat.

Sussman, Elisabeth. Mike Kelley: Catholic Tastes. New York, New York: Whitney Museum of American Art; and New York, New York: H. N. Abrams, 1993. Exh. cat.

1994

Kellein, Thomas, ed. Mike Kelley / Thomas Kellein: Ein Gespräch. A Conversation. Ostfildern, Germany: Cantz, 1994.

1995

Schwenk, Bernhart. Mike Kelley: Katholische Vorlieben. Munich, Germany: Haus der Kunst, 1995. Exh. cat.

Mike Kelley: Missing Time. Works on Paper 1974-1976, Reconsidered. Edited by Carl Haenlein. Hanover, Germany: Kestner-Gesellschaft, 1995. Exh. cat.

Heymer, Kay, ed. Mike Kelley: The Thirteen Seasons (Heavy on the Winter). Cologne, Germany: Jablonka Galerie, 1995. Exh. cat.

1996

Ichihara, Kentaro. Mike Kelley. Anti-Aesthetic of Excess and Supremacy of Alienation. Tokyo, Japan: Wako Works of Art, 1996. Exh. cat. Published concurrently with the 1996 solo exhibition Land O’Lakes.

1997

Stals, José Lebrero, ed. Mike Kelley: 1985-1996.Barcelona, Spain: Museu d’Art Contemporani de Barcelona; Malmö, Sweden: Rooseum: Center for Contemporary Art; Eindhoven, The Netherlands: Stedlijk Van Abbemuseum, 1997. Exh. cat.

Watari, Koichi, et al. Tony Oursler/Mike Kelley: The Poetics Project. Tokyo, Japan: Watari-um, The Watari Museum of Contemporary Art, 1997. Exh. cat.

1998

Mike Kelley/Paul McCarthy: Sod & Sodie Sock. Vienna, Austria: Wiener Secession, 1998. Exh. cat.

1999

Mike Kelley. Grenoble, France: Le Magasin Centre National d’Art Contemporain, 1999. Exh. cat.

Mike Kelley: Sublevel—Dim Recollection Illuminated by Multicolored Swamp Gas. Deodorized Central Mass with Satellites. Braunschweig, Germany: Kunstverein Braunschweig, 1999. Exh. cat.

Welchman, John C., Isabelle Graw, and Anthony Widler. Mike Kelley.London: Phaidon Press, 1999.

2000

Arden, Roy, and Scott Watson, eds. Mike Kelley and John Miller: Consolation Prize. Vancouver, Canada: Morris and Helen Belkin Art Gallery, 2000. Exh. cat.

Mike Kelley and Paul McCarthy: Collaborative Works.Toronto, Canada: The Power Plant Contemporary Art Gallery at Harbourfront Centre, 2000. Exh. cat.

Schumacher, Rainald, ed. Mike Kelley: Peter Fischli, David Weiss. Munich, Germany: Sammlung Goetz, 2000. Exh. cat.

Mike Kelley: Sublevel, Framed and Frame, Test Room. Zurich, Switzerland: Migros Museum für Gegenwartskunst, 2000. Exh. cat. [Germany translations of texts published in 1999 Grenoble exh. cat.]

2001

Jamie, Cameron, and Mike Kelley, eds. Exquisite Mayhem: The Spectacular and Erotic World of Wrestling. Cologne, Germany: Taschen, 2001.

Jocks, Heinz Norbert, ed. Mike Kelley im Gespräch mit Heinz Norbert Jocks.Cologne, Germany: Dumont, 2001.

Pontégnie, Anne, ed. Mike Kelley, Franz West. Brussels, Belgium: OneTwoThree, Hôtel Empain; Vienna: P&S, 2001. Exh. cat. [Published after the exhibition.]

2002

Mike Kelley: Memory Ware. Paintings and Sculptures. Cologne, Germany: Jablonka Galerie, 2002. Exh. cat.

2003

Welchman, John C., eds. Mike Kelley: Foul Perfection. Essays and Criticism. Cambridge, Massachusetts: The MIT Press, 2003.

2004

Mike Kelley: Memory Ware, Wood Grain, Carpet. Milan, Italy: Galleria Emi Fontana, 2004. Exh. cat.

Grunenberg, Christoph, ed. The Uncanny: By Mike Kelley, Artist.Liverpool, England: Tate Liverpool; Vienna, Austria: Museum Moderner Kunst Stiftung Ludwig Wien; Cologne, Germany: Verlag der Buchhandlung Walther König, 2004. Exh. cat.

Welchman, John C., ed. Mike Kelley: Minor Histories. Statements, Conversations, Proposals.Cambridge, Massachusetts: The MIT Press, 2004.

2005

Welchman, John C., ed. Mike Kelley: Interviews, Conversations, and Chit-Chat, 1986-2004. Zurich, Switzerland: JRP Ringier; Dijon, France: Les Presses de reel, 2005

2006

Mike Kelley: 1975-1994 Works.St. Barthelémy, French West Indies: Medium, 2006. Exh. cat.

Mike Kelley: Deodorized Central Mass with Satellites.New York, New York: Phillips de Pury & Company, 2006. Auction cat.

2007

Francis, Mark, and Mike Kelley, eds. Mike Kelley: Day Is Done. London, England: Gagosian Gallery; New Haven, Connecticut: Yale University Press, 2007.

Francis, Mark, eds. Mike Kelley: Hermaphrodite Drawings. London, England: Gagosian Gallery, 2007. Exh. cat.

2008

Goetz, Ingvild, Karsten Löchermann, and Stephan Urbaschek, eds. Mike Kelley. Munich, Germany: Sammlung Goetz, 2008. Exh. cat.

2009

Pontégnie, Anne, ed. Mike Kelley. Educational Complex Onwards, 1995-2008.Brussels, Belgium: Wiels; Zurich, Switzerland: JRP Ringier, 2009. Exh. cat.

Mike Kelley: Horizontal Tracking Shots. New York, New York: Gagosian Gallery, 2009. Exh. cat.

Mike Kelley: Photographs/Sculptures. Tokyo, Japan: Wako Works of Art, 2009. Exh. cat.

2010

Mike Kelly: Arenas. New York, New York: Skarstedt Gallery, 2010. Exh. cat.

Jablonka, Rafael, ed. Mike Kelley: Kandors. Berlin, Germany: Jablonka Galerie; and Munich: Hirmer, 2010. Exh. cat.

2011

Francis, Mark, ed. Mike Kelley: Exploded Fortress of Solitude. London, England: Gagosian Gallery, 2011. Exh. cat.

Hentschel, Martin, ed. Mike Kelley: Kandors.Krefeld, Germany: Museen Haus Lange und Haus Esters; and Munich: Hirmer, 2010. Exh. cat. [Germany translation of texts published in 2010 Jablonka exh. cat.]

Kelley, Mike, and Dan Nadel, eds. Return of the Repressed: Destroy All Monsters.Brooklyn, New York: PictureBox; and Los Angeles, California: PRISM, 2011. Exh. cat.

Welchman, John C., ed. On the Beyond: A Conversation between Mike Kelley, Jim Shaw, and John C. Welchman. Vienna, Austria: Springer-Verlag Wien, 2011.

2013

Meyer-Hermann, Eva, and Lisa Gabrielle Mark, eds., Mike Kelley, New York, New York: Delmonico Books/Prestel, 2013.

Group Exhibition Catalogues and Reference Books; Selected Reviews and Articles

Group exhibition catalogues and reference books (or individual essays featured within), as well as exhibition reviews and articles from periodicals.

1979

Armstrong, Richard. “Michael Kelly’s Performance: A Healthful Activity?”LAICA Journal 22 (March-April 1979): pp. 50-53.

 —  — -.”Sound.” Los Angeles Institute for Contemporary Art 22 (July 1979): pp. 50-53.

 —  — -. “Mike Kelley.” Artforum, November 1979, pp. 75-78.

Singerman, Howard. “Self-Expression, Seventies’ Style.” Artweek, July 14, 1979.

1980

Beal, Suzy. “Mike Kelley’s Trip.” Pro-Fun Magazine, April 1980, p. 15.

Sisco, Liz. “A Review of Mike Kelley’s Performance.” The Vis Arts Newspaper 2, June 16, 1980.

1981

Hertz, Richard. “L.A. Flesh Art.” High Performance11/12, vol. III, nos. ¾ (1981).

Knight, Christopher. “A Meeting of Media.” Los Angeles Herald Examiner: California Living Magazine, November 22, 1981.

Pincus, Robert L. “Mike Kelley.” Los Angeles Times, June 16, 1981.

Rickey, Carrie. “Art Attack.” Art in America, May 1981, pp. 41-48.

Singerman, Howard. “The Artist as Adolescent.” Reallife (Summer 1981): pp. 14-19.

 —  — -. “Michael Kelley: Reflection on a Can of Vernors.” Artforum, December 1981, p. 78.

1982

Eisenman, Stephan F. “Mike Kelley.” Arts Magazine(Nov. 1982), 57. April 1982, p. 14B.

Princenthal, Nancy. “Gallery Installations: Performance in Place.” A Life Magazine, November-December 1982, pp. 44-45.

1983

Gardner, Colin. “Out of the Frog.” Artweek, March 12. 1983.

Knight, Christopher;“Mike Kelley Turns Confusion into Art.” Los Angeles Herald Examiner, March 27 1983, p. E4.

Pincus, Robert L. “Michael Kelley at Beyond Baroque and Rosamund Felsen.” Art in America, September 1983, p. 181.

1984

Adams, Brooks. “Mike Kelley at Metro Pictures.” Art in America, October 1984, pp. 196-97.

Burkhart, Kathe. “Nuclear Cheesecake.” High Performance 28 (1984): pp. 68-69.

Norklun, Kathi. “The Flow of Belief: Can Art Replace Wrong-Headed Thinking?” High Performance 26 (1984): pp. 36-37.

Private Symbol: Social Metaphor. The Fifth Biennale of Sydney. Sydney, Australia: The Art Gallery of New South Wales, 1984. Exh. cat.

Schimmel, Paul, ed. First Newport Biennial 1984: Los Angeles Today.Newport Beach, California: Newport Harbour Art Museum, 1984. Exh. cat.

1985

Gardner, Colin. “Exorcising Philosophical Demons.” Artweek, September 28, 1985.

Gordon, Kim. “American Prayers.” Artforum, April 1985, pp. 73-77.

Kriesche, Richard, ed. Artificial Intelligence in the Arts: Nr. 1 “Brainwork.” Graz, Austria: Steirischer Herbst Festival; and Los Angeles, California: Municipal Art Gallery, 1985. Exh. cat.

Rugoff, Ralph. “High Art Meets Low Culture.” L.A. Style, October 1985, pp. 23-24.

1986

Cameron, Dan. “Mike Kelley’s Art of Violation.” Arts Magazine, June 1986, pp. 4-17.

Welchman, John C. “Image and Language: Syllables and Charisma.” In Individuals: A Selected History of Contemporary Art, 1945-1986. Los Angeles, California: The Museum of Contemporary Art, 1986. Exh. cat.

McGuigan, Cathleen, and Janet Huck. “Picasso in Lala Land.” Newsweek, November 24 1986, pp. 86-88.

Richard, Paul. “The New Lay of Landscape.” The Washington Post, January 11 1986, p. G9.

Vangelisti, Paul. “Flawed Polemics.” Artweek, July 25, 1986.

1987

Drohojowska, Hunter. “The Artists Who Matter, L.A.’s New Scene Makes History.” Antiques & Fine Arts, June 1987, pp 49-52.

Howell, John. “Mike Kelley, Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile.” Artforum, May 1987, pp. 151-52.

Jones, Ronald. “Mike Kelley, Metro Pictures.” Flash Art, February-March 1987, pp. 106-07.

Knight, Christopher. “’Half a Man’ is wholly compelling: Artist moves into the third dimension.” Los Angeles Herald Examiner, December 13, 1987.

L.A. Hot and Cool: The Eighties.Edited by Dana Friis-Hansen, et al. Cambridge, Massachusetts Institute of Technology, 1987. Exh. cat.

O’Dell, Kathy. “Mike Kelley at Artists Space.” Art in America, May 1987, p. 184.

1988

Fairbrother, Trevor, David Joselit, and Elisabeth Sussman. The BiNational: American Art of the Late 80s / German Art in the Late 80s. Boston, Massachusetts: The Institute of Contemporary Art and Museum of Fine Arts, 1988. Exh. cat.

Fehlau, Fred. “Mike Kelley at Rosamund Felsen.: Flash Art, March-April 1988, pp. 115-16.

The 43rd Biennale of Venice, Aperto ’88. Milan, Italy: Fabbri Editori, 1988. Exh. cat.

Hixson, Kathryn. “Mike Kelley.” Arts Magazine, November 1988, p. 97.

Palmer, Laurie. “Mike Kelley: Renaissance Society.” Artforum, September 1988, pp. 146-47.

Rugoff, Ralph. “Mike Kelley at Rosamund Felsen Gallery.” Artscribe, May 1988, pp. 83-84.

Schjeldahl, Peter. “New Blue Collar.” 7 Days, October 5, 1988.

Smith, Roberta. “Mike Kelley.” New York Times, September 23, 1988.

1989

Cameron, Dan. “Pop ‘n’ Rock.” Art Issues 7, November 1989, pp. 9-17.

Gilbert-Rolfe, Jeremy. “The Price of Goodness.” Artscribe, November-December 1989, pp. 48-53.

Goldstein, Ann, Mary Jane Jacob, and Howard Singerman, eds. A Forest of Signs: Art in the Crises of Representation. Los Angeles, California: The Museum of Contemporary Art, 1989. Exh. cat.

Kramer, Hilton. “The Whitney’s ’89 Biennial Exhibit: Bourse of Marketing Reputations.” New York Observer, May 15, 1989.

McKenna, Kristine. “In the Footsteps of Warhol.” Los Angeles Times Calendar, May 7, 1989.

Messler, Norbert. “Mike Kelley.” Artforum, Summer 1989, p. 156.

1990

Cottingham, Laura. “Mike Kelley, Metro Pictures.” Tema Celest (July-October 1990): p. 66.

El jardin salvaje. Madrid, Spain: Fundación Caja de Pensiones, 1990. Exh. cat.

Koether, Jutta. “B-B-Bildung” / “C-Culture and B-Culture.” Parkett 24 (1990): pp. 97-101; pp. 102-06.

Knight, Christopher. “Dishevelled Dolls Center of Mike Kelley’s Show.” Los Angeles Times, October 10, 1990.

 —  — -. “Is L.A. a World-Class Art City?” Los Angeles Times, April 8, 1990.

Kornblau, Gary. “Mike Kelley.” Art Issues, March-April 1990, pp. 24-25.

Parachini, Allan. “NEA Won’t Fund Boston Show of L.A. Artist.” Los Angeles Times, October 23, 1990.

Rimanelli, David. “Mike Kelley.” Artforum, September 1990, p. 151.

1991

Bass, Ruth. “Carroll Dunham, Mike Kelley, Cindy Sherman.” Art News, May 1991, pp. 151-52.

Fehlau, Fred. “Mike Kelley.” Flash Art, January-February 1991, p. 136.

Kimmelman, Michael. “Mike Kelley’s Toys Play Nasty Games.” New York Times, April 7, 1991.

Kuoni, Carin. “Der halbe Mensch.” Neue Zürcher Zeitung, April 30, 1991.

Lewis, James. “Beyond Redemption.” Artforum, Summer 1991, pp. 71-75.

McEvilley, Thomas. “New York: The Whitney Biennial.” Artforum, Summer 1991, pp. 98-101.

Perl, Jed. “Stuffed.” The New Criterion, June 1991, pp. 45-47.

1992

Adams, Brooks. “Mike Kelley ou l’esthétique de l’échec.” Art Press, June 1992, pp. 32-37.

Bernardi, David. “The ABC’s of Perversion.” Flash Art, January-February 1992, p. 126.

Cooke, Lynne, and Mark Francis, eds. The Carnegie International 1991, Vol. 1. Pittsburgh, Pennsylvania: The Carnegie Museum of Art, 1992. Exh. cat.

Diederichsen, Diedrich. “Noch eine Entdeckung Amerikas: Mike Kelley in Videofilmen” “Yet Another Discovery: Mike Kelley in Video.” Parkett 31 (1992): pp. 74-76; 77-81.

Documenta IX. Kassel, Germany: Museum Fridericianum; Stuttgart: Edition Cantz; New York, New York: Harry N. Abrams, 1992. Exh. cat.

Fairbrother, Trevor. “Mike Fucking Kelley.” Parkett 31 (1992): pp. 64-68; 69-73.

Helter Skelter: L.A. in the 1990s. Los Angeles, California: The Museum of Contemporary Art, 1992. Exh. cat.

Kandel, Susan. “Join the Club.” Los Angeles Times, July 9, 1992.

Knight, Christopher. “Mike Kelley, at Large in Europe.” Los Angeles Times, July 5, 1992.

Marcadé, Bernard. “Der Mundgeruch der Welt” / “The World’s Bad Breath.” Parkett 31 (1992): pp. 93-95; 97-99.

Deitch, Jeffrey, ed. Post Human. Lausanne, Switzerland: Musée d’art contemporain, 1992. Exh. cat.

Relyea, Lane. “Wild Kingdom.” Parkett31 (1992): pp. 82-85; 86-91.

Schmitz, Rudolf. “Die Metaphysik der Muppet-Show.” Frankfurter Allgemeine Zeitung, May 12, 1992.

Segal, Lewis. “Troupe Drums Up Rock’s Barest Essence.”Los Angeles Times, July 1, 1992. Review of Beat of the Traps.

Steiner, Bettina. “Bereinzelung für Auge und Ohr.” Die Presse, June 5, 1992. Review of Beat of the Traps.

1993

Avgikos, Jan. “Mike Kelley, Metro Pictures.” Artforum, March 1993, pp. 92-93.

Ben-Levi, Jack, et al. Abject Art: Repulsion and Desire in American Art. New York: Whitney Museum of American Art, 1993. Exh. cat.

Heath, Chris. “Artful Dodgers.” Details, November 1993, pp. 118-23, 175.

Joe, Michael. “Mike Kelley, Metro Pictures.” Flash Art, March-April 1993, p. 82.

Knight, Christopher. “Mike Kelley’s Messy, Underbelly World.” Los Angeles Times, November 8, 1993.

Larson, Kay. “Valley of the Dolls.” New York Magazine, November 22, 1993.

McKenna, Kristine. “Mike Kelley’s Disturbing Memories.” Art News, November 1993, pp. 150-55.

 —  — -. “The Outlaw Gets Legit.” Los Angeles Times Magazine(December 1993).

Princenthal, Nancy. “Mike Kelley at Metro Pictures.” Art in America(April 1993), p. 127.

Smith, Roberta. “Mike Kelley’s Messages: Mixed and Emotional.” New York Times, November 5, 1993.

Wallis, Brain. “Mike Kelley’s ‘The Uncanny.’” Art in America, October 1993, p. 55.

1994

Clearwater, Bonnie. “Arrested Childhood.” Art Press, December 1994, pp. 33-40.

Curtis, Cathy. “Images of Behaviour.” Los Angeles Times, August, 16, 1994.

Dector, Joshua. “Stupidity as Destiny: American Idiot Culture.” Flash Art, October 1994, pp. 73-75.

Duncan, Michael. “Kelley’s Junk Shop Pop.” Art in America, June 1994, pp. 84-89.

Graaf, Vera. “Den Nerv der Zeit getroffen.” Süddeutsche Zeitung, February 4, 1994.

Jocks, Heinz-Norbert. “Mike Kelley.” Kunstforum International 126 (March-June 1994): pp. 362-64.

Knight, Christopher. “Nothing Like a Little Enlightened Impurity.” Los Angeles Times,July 1, 1994.

Lewis, Jim. “Mike Kelley.” Texte zur Kunst13 (March 1994): pp. 32-35.

Myers, Terry R. “The Mike Kelley Problem.” New Art Examiner(Summer 1994): pp. 24-29.

Pincus, Robert L. “Kelly passionately presents visions of disturbing dreck.” San Diego Union-Tribune, July 24, 1994.

Rimanelli, David. “More Art Hours Than Can Ever Be Repaid.” Frieze, January-February 1994, pp. 16-21.

Welchman, John C. Review of Mike Kelley: Catholic Tastes. Art & Text 48, April 1994.

Ziegler, Ulf Erdmann. “Die verschlüsselten Knuddeltiere.” Die Zeit, January 14, 1994.

1995

Albig, Jörg-Uwe. “Mike Kelley: Ein Künstler bekämpft die Romantik.” Art: Das Kunstmagazin(April 1995).

Holert, Tom. “Mike Kelley: Vater, Lehrer, Kind.” Texte zur Kunst 18 (May 1995): pp. 95-111.

Kimmelman, Michael. “Mike Kelley.” New York Times, November 24, 1995. Review of Towards a Utopian Arts Complex.

Miro, Marsha. “Destroy All Preconceptions.” Detroit Free Press, October 16, 1995.

Rein, Ingrid. “Der Griff unter Barbies Rock.” Süddeutsche Zeitung, February 17, 1995.

Schütz, Heinz. “Mike Kelley: Katholische Vorlieben.” Kunstforum International130 (May-July 1995): pp. 371-74.

Sussman, Elisabeth. “Mike Kelley.” Art in America, January-February 1995.

Winter, Peter. “Gedächtnisirrwege.” Frankfurter Allgemeine Zeitung, June 26, 1995.

1996

Chapman, Jake, and Dinos Chapman. “Jake & Dinos Fine Arts Inc.” Dazed & Confused, 1996, pp. 78-88.

Drohojowska, Junter. “L.A.’s Künstler auf der Jagd nach dem Teen Spirit.” Kunstforum International134 (May-September 1996): pp. 194-98.

Foster, Hal. “The Obscene, Abject, Traumatic.” October78 (Fall 1996): pp. 107-24.

L’informe: Le modernisme à rebours. Paris, France: Centre Georges Pompidou, 1996. Exh. cat.

Krauss, Rosalind. “Inform Without Conclusion.” October 78 (Fall 1996): pp. 86-105.

Van de Walle, Mark. “Mike Kelley.” Artforum, January 1996, p. 81.

1997

Duncan, Michael. “Cultic Crossover: Mike Kelley in Barcelona.” La Weekly, March 14, 1997.

Kandel, Susan. “Poetics Project Relives Group’s Heady Days.” Los Angeles Times, December 12, 1997.

Pecoil, Vincent. “Mike Kelley, A Minor Art.” Documents sur l’art(Fall 1997): pp. 125-35.

Sunshine & Noir: Art in L.A. 1960-1997. Humlebæk, Denmark: Louisiana Museum of Modern Art, 1997. Exh. cat.

Sztulman, Paul. “Mike Kelley / Tony Oursler.” In Documenta X: Short Guide / Kurzführer, 114-15. Kassel, Germany: Museum Fridericianum; Ostfildern-Ruit, Germany: Cantz Verlag, 1997. Exh. cat.

1998

Crawford, Ashley. “Monster Men.” World Art (Winter 1998): pp. 28-31.

Duncan, Michael. “A Trip Down False-Memory Lane.” Art in America, January 1998, pp. 45-47.

Heiser, Jörg. “Mike Kelley.” Frieze, November-December 1998, pp. 82-83.

Out of Actions: Between Performance and the Object, 1949-1979. Los Angeles, California: The Museum of Contemporary Art; Vienna, Austria: Museum für angewandte Kunst; Barcelona, Spain: Museu d’Art Contemporani; Tokyo, Japan, Museum of Contemporary Art; New York and London: Thames and Hudson, 1998. Exh. cat.

Shamash, Diane. “A History Lesson.” Art in America, October 1998, pp. 112-15.

1999

Aupetitallot, Yves. “Mike Kelley: Le Magasin.” Art Press, October 1999, pp. 14-17.

Chris, Cynthia and John C. Welchman. “The Freshness of Acconci.” Texte zur Kunst(September 1999): pp. 276-80. [Text in German.]

Ise, Claudine. “A Timely, Ironic Exhibition from Mike Kelley.” Los Angeles Times, February 5, 1999.

Miles, Christopher. “Mike Kelley at Patrick Painter, Inc.: Artforum, April 1999, p. 127.

Rimanelli, David. “Mike Kelley: Metro Pictures, New York.” Artforum, September 1999, p. 165.

Shulman, Dave. “What Makes the Worm Growl: Mike Kelley’s Health Plan.” LA Weekly, January 28, 1999.

Spiegel, Andreas. “Mike Kelley.” In Zeitwenden: Ausblick. Edited by Dieter Ronte and Walter Smerling, pp. 156-61. Bonn, Germany: Kunstmuseum; Vienna, Austria: Museum moderner Kunst Stiftung Ludwig; and Cologne, Germany: DuMont. 1999. Exh. cat.

Winter, Peter. “Folterkammern für Schmuddelkinder.” Frankfurter Allgemeine Zeitung, October 14, 1999.

2000

Basting, Barbara. “Im Inneren des Glücksbrunnens.” Neue Zürcher Zeitung, April 25, 2000.

Hall, James. “Playground for Adults.” In Apocalypse: Beauty and Horror in Contemporary Art.Edited by Norman Rosenthal and Michael Archer. London, England: Royal Academy of Arts, 2000.

Kihm, Christophe. “Mike Kelley, Franz West: FRAC Poitou-Charentes.” Art Press, May 2000, pp. 79-80.

Monk, Philip. “In Depth Arts News: Mike Kelley and Paul McCarthy: Collaborative Works.” Absolutearts.com http://www.absolutearts.com/artnews/2000/03/28/26760.html.

Pecoil, Vincent. “I Rip You, You Rip Me.” Documents Sur L’Art12 (2000): pp. 108-155.

Poli, Francesco. “Mike Kelley.” Tema Celeste 82 (October-December 2000): p. 80.

Pouncey, Edwin. “Multi Media: Edwin Pouncey Decodes the Sex-Trash Art of Mike Kelley.” The Wire(February 2000), n.p.

Scott, Michael. “Shocking Stuff.” Vancouver Sun, January 22, 2000.

Vidler, Anthony. “Deep Space/Repressed Memory: Mike Kelley’s Educational Complex.” In Warped Space, pp. 159-71. Cambridge, Massachusetts: The MIT Press, 2000.

2001

Eye Infection. Amsterdam: Stedelijk Museum, 2001. Exh. cat.

Foerster, Barbara. “Mike Kelley.” Kunstforum International 156 (August-October 2001): pp. 400-01.

Haddad, Natalie. “Here and Then: Mike Kelley joins DIA for the Artists Take of Detroit.Real Detroit Weekly, November 14, 2001.

Welchman, John C. Art After Appropriation: Essays on Art in the 1990s. Amsterdam: G + B Arts International, 2001.

2002

Chapuis, Yvane. “Mike Kelley: The Body General.” Art Press, September 2002, pp. 36-40.

De Brugerolle, Marie. “The Missing Link in California Conceptual Art.” Art Press, September 2002, pp. 34-35.

Freudenheim, Susan. “Singular Commitment.” Los Angeles Times, January 27, 2002.

Hainley, Bruce. “Mike Kelley.” Artforum, October 2002, p. 150.

Harvey, Doug. “Digging the Dirt: Mike Kelley, Relentlessly.” LA Weekly, May 15-23, 2002.

Knight, Christopher. “Dredging Up a Sense of Adolescent Place.” Los Angeles Times, May 17, 2002.

LaBelle, Charles. “Mike Kelley” Frieze, September 2002, pp. 102-03.

Rinder, Lawrence, ed. Whitney Biennial 2002. New York, New York: Whitney Museum of American Art, 2002. Exh. cat.

Summers, Francis. “Hungry for Death?” Untitled 28 (Summer 2002): pp. 16-19.

2003

Ardenne, Paul. Art Press-Édition Spéciale, Biennale d’Art Contemporain de Lyon, 2002:10.

Diederischsen, Diedrich. “A Fan’s Notes: Diedrich Diederichsen on Mike Kelley’s Writings.” Artforum, January 2003, pp. 33-34.

Harvey, Doug. “Don’t Look Back: Mike Kelley’s Proposal.” LA Weekly, December 12, 2003.

It Happened Tomorrow. Lyon, France: Biennale d’Art Contemporain de Lyon, 2003. Exh. cat.

Leffingwell, Edward. “Mike Kelley at Metro Pictures.” Art in America, April 2003, p. 134.

Pouncey, Edwin. “Anti Conso.” The Wire(September 2003).

Welchman, John C. “Provisorische Maßnahmen: Mike Kelley als Autor.” Texte zur Kunst51 (September 2003): pp. 126-31.

2004

Breeerette, Geneviève. “Mike Kelley: L’irréductible.” Le Monde, December 4, 2004.

Buchhart, Dieter. “Mike Kelley: Das Unheimliche – Eine Ausstellung als Kunstwerk.” Kunstforum International172 (September-October 2004): pp. 374-75.

Farquharson, Alex. “The Uncanny.” Frieze, May 2004, pp. 90-91.

Janus, Elisabeth. “Mike Kelley: Galleria Emi Fontana.” Artforum, April 2004, p. 167.

Jones, Leslie. “Street Credibility: Artist Mike Kelley Curated a Photography Exhibition at Los Angeles MoCA.” Art on Paper(May-June 2004): pp. 70-73.

Knight, Christopher. “Photo Synthesis.” Los Angeles Times, March 7, 2004.

Müller, Vanessa Joan. “Monster’s Ball: The Uncanny von Mike Kelley in der Tate Liverpool.” Texte zur Kunst54 (June 2004): pp. 206-08.

Newall, Michael. “Repetition Compulsion: Mike Kelley’s Uncanny Reanimated.” Broadsheet 33 (June 2004): pp. 38-40.

Singerman, Howard. “Helter Skelter: Howard Singerman on Pop Noir.” Artforum, October 2004.

Storr, Robert. “What’s Not to Like?: Robert Storr on Mike Kelley.” Artforum, October 2004, pp. 263-65, 306.

Tumlir, Jan. “Jan Tumlir on Destroy All Monsters.” Artforum, October 2004, pp. 85-86.

2005

Davis, Ben. “I Want My Mike Kelley.” Artnet.com, November 16, 2005. http://www.artnet.com/magazineus/reviews/davis/davis11-16-05.asp.

Fox, Dan. “All Tomorrow’s Parties.” Frieze, March 2005, p. 79.

Kimmelman, Michael. “Adults Playing Children’s Scary Games.” New York Times, November 25, 2005.

Lewis, Jim. “Mike Kelley: The Last Great 20th-Centruy Artist.” Slate.com, November 30, 2005. . http://www.slate.com/id/2131218.

PressPlay: Contemporary Artists in Conversation. London, England: Phaidon, 2005.

Saltz, Jerry. “Clusterfuck Aesthetics.” The Village Voice, November 29, 2005.

Welchman, John C. “Day Is Done: The False, the Real, and the Memory in Mike Kelley’s Thirty-Two Stations.” Flash Art, November-December, 2005, pp. 59-61.

2006

Daftari, Fereshteh. “Islamic or Not.” In Without Boundary: Seventeen Ways of Looking. New York: Museum of Modern Art. 2006. Exh. cat.

Géniès, Bernard. “Mike Kelley: Agitateur Culturel.” Le Nouvel Observateur(March 2006): pp. 6-10.

Mike Kelley: Martin Kippenberger. Albert Oehlen. St. Georgen, Germany: Kunstraum Grässlin, 2006. Exh. cat.

Mooney, Chris. “Mike Kelley: Profondeurs Vertes.” Art Review, November 2006, p. 198.

Pennings, Mark. “Gross Out: Day Is Done, Mike Kelley.” Eyeline60 (2006): pp. 52.

Rochette, Anne, and Wade Saunders. “Place Matters: Los Angeles Sculpture Today.” Art in America, November 2006, pp. 168-70.

Stern, Steven. “Tomorrow Never Comes.” Frieze, March 2006, pp. 112-19.

Welchman, John C. “Deoderized Central Mass with Satellites.” In Mike Kelley: Deoderized Central Mass with Satellites, n.p. New York: Phillips de Pury & Company, 2006.

2007

Chang, Chris. “Night Has Come: The Warped Space of Mike Kelley’s Day Is Done.” Film Comment(September-October 2007): p. 17.

Draxler, Helmut. “Mike Kelleys Allegorie der Realisierten Demokratie: Partizipative Perversion.” Artnet.de, September 4, 2007. http://www.artnet.de/magazine/reviews/hdraxler/draxler09-04-07.asp.

Gilligan, Melanie. “The Beggar’s Pantomime: Melanie Gillian on Performance and its Appropriations.” Artforum, Summer 2007, pp. 426-33.

Kuhn, Nicola. “Mike vom Jupiter.” Der Tagesspiegel, October 6, 2007.

2008

Chun, Kimberly. “Video Mutants: Booby calls. Lost in bizarre pop idolatry with artist Mike Kelley.” San Francisco Bay Guardian, January 23, 2008.

Hafner, Hand-Jürgen. “Mike Kelley: Kandors.” Kunstforum International 189 (January-February 2008): pp. 287-88.

Holthof, Marc. “Raised by Zombie: Over modernisme als misbruik en het werk can Mike Kelley.” De Witte Raaf134 (July-August 2008).

Liebs, Holger. “Mike Kelley.” Frieze, January-February 2008, p. 192.

Life on Mars, Edited by Douglas Fogle. Pittsburgh, Pennsylvania: Carnegie Museum of Art, 2008. Exh. cat.

Munder, Heike. “Curator’s Key.” Spike (Summer 2008).

Phillips, Glenn J. California Video: Artists and Histories. Los Angeles, California: Getty Research Institute and J. Paul Getty Museum, 2008.

Pohlen, Annelie. “Mike Kelley.” Kunstforum International 192 (July-August 2008): pp. 369-72.

Rottmann, André. “Mike Kelley.” Artforum 46, January 2008, p. 285.

Singerman, Howard. “The Educational Complex: Mike Kelley’s Cultural Studies.” October126 (Fall 2008): pp. 44-68.

Ullrich, Wolfgang. “Er steht, über slem: Dem Horror folgt das Lachen. Die hintersin-nige Kunst des Amerikaners Mike Kelley in einer Münchner Ausstellung.” Die Zeit, December 4, 2008.

Wolf, Falk. “Mike Kelleys kryptiches Laboratorium: Kandor #6.” In Wallraf-Richartz-Jahrbuch 70, pp. 281-90. Edited by Diether Budde. Cologne, Germany: DuMont, 2008.

2009

Fontana, Emi. “Mike Kelley.” Mousse Magazine, November 2009.

Jahn, Jedd. “Mike Kelley and Michael Smith at Sculpture Center.” PORT Portland Art News, September 21, 2009. http://www.portlandart.net/archives/2009/09/mike_kelley_and.html.

Konigsberg, Eric. “Culture Warriors’ (Serious) Fun House.” New York Times, September 27, 2009.

Leingre, Guillaume. “Détruire Tout Les Monstres: Mike Kelley et la photographie.” 20/27 (2009): pp. 98-127.

Licht, Alan. “Mike Kelley and Michael Smith.” Artforum, December 2009, pp. 222-23.

Neset, Anne Hilde. “Performa 09: Atrocity Exhibition.” The Wire(November 2009).

Rickels, Laurence. “Einsame Gespenster: Zu Sinn und Richtung des ‘Reenactment’.” Tezte zur Kunst76 (December 2009): pp. 68-83.

Schere, Stein, Papier: Pop-Musik als Gegenstand Bildender Kunst/ Rock, Paper, Scissors: Pop Music as Subject of Visual Art.Graz, Austria: Kunsthaus Graz, 2009. Exh. cat.

Schreiber, Daniel. “Der Anti-Warhol.” Monopol(January 2009).

Schwenk, Bernhart. “Mike Kelley.” In Museum Brandhorst: Ausgewählte Werke, pp. 294-303. Munich, Germany: Prestel, 2009. Exh. cat.

Sonna, Birgit. “Wenn Systeme implodieren.” Neue Zürcher Zeitung, March 23, 2009.

Smith, Roberta. “Performa 09: Mike Kelley’s Extracurricular Activity.” New York Times, November 19, 2009, n.p.

Welchman, John C. “L’arte e le instituzione: Riempire (e cancellare) dei vuoti.” In Le funzione del museo: Arte, museo, pubblico nella contemporaneità. Edited by Stefano Chiodi. Florence, Italy: Le Lettere, 2009.

2010

Grabner, Michelle. “Mike Kelley and Michael Smith: A Voyage of Growth and Discovery.” X-tra 12, vol. 3 (Spring 2010): pp. 49-53.

Hafner, Hans-Jürgen. “Verflüssigtes Utopia.” Artnet.de, February 10, 2010. http://www.artnet.de/magazine/mike-kelley-im-schinkel-pavillon-berlin.

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, 2010.

Knight, Christopher. “Art Review: Michael Smith & Mike Kelley @ West of Rome.” Los Angeles Times, June 10, 2010, n.p.

Lebowitz, Cathy. “Kelley, Dunham, Breuning.” Lacanian Ink 35 (Spring 2010): pp. 162-71.

Levine, Cary. “Manly Crafts: Mike Kelley’s (Oxy)Moronic Gender Bending.” CAA Art Journal 69 (Spring-Summer 2010): pp. 74-91.

Lopez, Ruth. “Mike Kelley goes home again.” Art Newspaper, October 11, 2010.

Morley, Simon. “Staring on the Contemporary Abyss.” Tate etc. 20 (Autumn 2010): pp. 70-77.

Plagens, Peter. “Production Values.” Art in America, January 2010, pp. 41-42.

2011

Griffin, Jonathan. “Portrait of the Artist as Superhero.” Texte zur Kunst 82 (June 2011): pp. 256-59.

Knight, Christopher. “Art Review, Mike Kelley at Gagosian Gallery.” Los Angeles Times, January 20, 2011.

Nisbet, James. “Critics’ Picks: Mike Kelley at Gagosian Gallery.” Artforum.com, February 10, 2011. http://artforum.com/archive/id=27468.

Return of the Repressed: Destroy All Monsters, 1973-1977. Los Angeles, California: Turnaround; New York, New York: PictureBox, 2011-12. Exh. cat.

Schimmel, Paul, and Lisa Gabrielle Mark, eds. Under the Big Black Sun: California Art 1974-1981. Los Angeles, California: The Museum of Contemporary Art, 2011. Exh. cat.

Welchman, John C. “History and Time in the American Vernacular: Mike Kelley’s Work with Photography.” In Imagining History: Photography After the Fact.Edited by Bruno Vandermeulen and Danny Vey. Brussels, Belgium: ASP, 2011.

2012

Sander, Jay and Elisabeth Sussman, eds. Whitney Biennial 2012, New York, New York: Whitney Museum of American Art, 2012. Exh. cat.

Welchman, John C. “Plato in America: Hopper, Rothko, Kelley.” In Plato’s Mirror and the Actuality of the Cave Allegory, Inspired by Projections by Mischa Kuball, pp. 235-58. Edited by Andreas Beitin, Leohard Emmerling and Blair French. Cologne, Germany: König, 2012.

 —  — -. “Stopgap Measures: Reading Mike Kelley’s Writings.” Reading Room: A Journal of Art and Culture 5 (2012): pp. 48-69.

2013

Welchman, John C. “Documents, Dreams and Fantasies: Passages through the Involuntary from Photography to Sculpture in the Work of Mike Kelley.” In Found Sculpture and Photography from Surrealism to Contemporary Art. Edited by Julia Kelly and Anna Dezeuze. New York, New York: Ashgate, 2013.

Interviews and Artist’s Texts

Interviews with and texts by Mike Kelley. All major interviews and texts were compiled by John C. Welchman and published as anthologies in 2003, 2004, and 2005. Texts are only listed below if not reprinted in these anthologies or available in translation.

Anthologies

Welchman, John C., ed. Mike Kelley: Foul Perfection. Essays and Criticism. Cambridge, Massachusetts: The MIT Press, 2003.

 —  — -. Mike Kelley:Minor Histories. Statements, Conversations, Proposals. Cambridge, Massachusetts: The MIT Press, 2004.

 —  — -. Mike Kelley: Interviews, Conversations, and Chit-Chat 1986-2004, Zurich, Switzerland: JRP Ringier; Dijon, France: Les Presses du reel, 2005.

1979

Kelley, Mike. “The Runaway Wheel.” LAICA Journal (March 1979).

1980

Kelley, Mike. “The Paradise Lily.” High Performance 11-12 (Fall-Winter 1980). [Artists’ Chronicle.]

1981

Kelley, Mike. “The Monitor and the Merrimac.” High Performance 14 (Summer 1981). [Artists’ Chronicle.]

 —  — -. “Monkey Island.” Lightworks (February 1981).

McMullen, Dan. “Interview: Mike Kelley.” Artists News, February 1981.

1982

Kelly, Mike. “Monkey Island.” In Cave Canem: Stories and Pictures, pp. 122-46. New York, New York: Cave Canem Books, 1982.

 —  — -. “Meditation on a Can of Vernors.” High Performance 17-18 (Spring-Summer 1982). [Artists’ Chronicle.]

1985

Kelley, Mike. “Excepts from Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile.” LAICA Journal 42 (Fall 1985): n.p.

1986

Kelley, Mike. Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. Venice, California: New City Editions; New York, New York: Artists Space, 1986. [Artists’ book.

1987

Cotter, Holland. “Eight Artists Interviewed: Mike Kelley.” Art in America, May 1987, pp. 165, 197.

1988

Gholson, Craig. “Mike Kelley.” Bomb (Winter 1988), p. 85.

1989

Kelley, Mike. “Theory, Garbage, Stuffed Animals, Christ. (Dinner Conversation Overheard at a Romantic French Restaurant.).” Forehead 2 (1989): pp. 12-21.

1990

Taylor, Paul. “Mike Kelley: Toying with Second-hand Souvenirs.” Flash Art, October 1990, pp. 141-43.

1992

Kelley, Mike. “Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile” / “Platons Höhle, Rothkos Kapelle, Lincolns Profil.” In Mike Kelley, pp. 44-47; pp. 32-38. Basel, Switzerland: Kunsthalle, Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz, 1992. Exh. cat.

 —  — -. “Theory, Garbage, Stuffed Animals, Christ. (Dinner Conversation Overheard at a Romantic French Restaurant).” In Mike Kelley, pp. 64-69. Basel, Switzerland: Kunsthalle Basel; Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz, 1992. Exh. cat.

McKenna, Kristine. “The Taboo Artist.” Los Angeles Times, July 5 1992.

Miller, John. “Mike Kelley Interviewed by John Miller on March 21, 1991.” In Mike Kelley, pp. 7-51. Edited by William S. Bartman and Miyoshi Barosh. New York, New York: Art Resources Transfer, 1992.

Rugoff, Ralph. “Dirty Toys: Mike Kelley Interviewed” XXIst Century (Winter 1991-92): n.p.

 —  — -. “Dirty Toys: Mike Kelley Interviewed” / “Schmutziges Spielzeug: Im Gespräch mit Mike Kelley.” In Mike Kelley, pp. 86-90. Basel, Switzerland: Kunsthalle Basel; Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz, 1992. Exh. cat.

Sylvester, Julie. “Talking Failure” / “Über das Scheitern.” Parkett 31 (1992): pp. 100-06.

Taylor, Paul. “Mike Kelley: Toying with Second-hand Souvenirs” / “Spielen mit Secondhand-Souvenirs.” In Mike Kelley, pp. 58-61. Basel, Switzerland: Kunsthalle Basel; Frankfurt, Germany: Portikus; London, England: Institute of Contemporary Arts; Ostfildern, Germany: Edition Cantz, 1992. Ech. Cat.

1993

Kremer, Mark. “Mike Kelley: A Fucked-Up Mirror of Dominant Image Making.” Art Press, September 1993, pp. 5-8.

1994

Storr, Robert. “An Interview with Mike Kelley.” Art in America, June 1994, pp. 89-93.

1995

Jocks, Heinz Norbert. “Mit Sex kann man der Bourgeoisie heute keinen Schlag mehr verpassen.” Kunstforum International 130 (July 1995): pp. 272-93.

1996

Miller, John. “Die Depolitisierung der Hippiekultur trug zu ihrer Mystifizierung bei.” Kunstforum International 134 (September 1996): pp. 199-205.

1997

Jocks, Heinz Norbert. “Als Kind war ich ein Bücherwurm, der davon träumte, eines Tages ein Erzähler zu warden.” Kunstforum International 139 (December 1997-March 1998): pp. 186-92.

Martin, Timothy. “Mike Kelley im Gespräch mit Timothy Martin.” In Künstlerinnen, pp. 138-41. Bregenz, Austria: Kunsthaus Bregenz, 1997. Exh. cat.

1998

Bessa, Sergio. “Historic Kiosk.” Zingmagazine 2 (Summer 1998), n.p.

Groos, Ulrike, and Markus Müller. “Interview mit Mike Kelley.” In Mike It Funny: Crossover Zwischen Musik, Pop, Avantgarde und Kunst, pp. 190-204. Edited by Ulrike Groos and Markus Müller. Cologne, Germany: Oktagon, 1998.

1999

Graw, Isabelle. “Isabelle Graw in Conversation with Mike Kelley.” In Mike Kelley, pp. 6-41. Edited by Isabelle Graw, John Welchman, and Anthony Vidler. London, England: Phaidon Press, 1999.

Kelley, Mike. “An Endless Script: A Conversation with Tony Oursler.” In Introjection: Tony Oursler, Mid-Career Survey 1976-1999. Williamstown, Massachusetts: Williams College Museum of Art, 1999. Exh. cat.

 —  — -. “The meaning is confused spatially, framed” / “Le sens est un espace trouble encadré.” In Mike Kelley, pp. 62-76; pp. 85-98. Grenoble, France: Le MAgasin Centre National d’Art Contemporain, 1999. Exh. cat.

 —  — -. “Mike Kelley.” In Art at Ringier 1995-1998, pp. 78-81. Edited by BeatrixRuf. Zurich, Switzerland: JRP Ringier, 1999.

2000

Antoine, Jean-Philippe. “Basket nocturne à dos d’âne: Une conversation avec Mike Kelley.” Les Cahiers du Musée National d’Art Moderne 73 (Fall 2000): pp. 103-23.

Cooper, Dennis. “Alma Pater (Wolverine Den).” In Mike Kelley: Peter Fischli, David Weiss, pp. 70-72. Edited by Rainald Schumacher. Munich, Germany. Sammlung Goetz, 2000. Exh. cat. [Germany translation of 1991 English text; reprinted in Welchman, 2004]

 —  — -. “Die Bedeutung ist verworrene Räumlichkeit, gerahmt.” In Mike Kelley: Subelvel, Framed and Frame, Test Room, pp. 37-60. Exh. cat. Zurich, Switzerland: Migros Museum für Gegenwartskunst, 2000. Exh. cat. [German translation of 1999 Grenoble solo exh. cat. Text]

 —  — -.” Cross Gender/Cross Genre.” In Mike Kelley: Peter Fischli, David Weiss, pp 32-37. Edited by Rainald Schumacher. Munich, Germany: Sammlung Goetz, 2000. Exh. cat. [Germany translation of 1999 English text; reprinted in Welchman, 2003]

 —  — -. “theory, Garbage, Stuffed Animals, Christ. (Dinner Conversation Overheard at a Romantic French Restaurant)” / ‘ “Theorie, Müll, Stofftiere, Christus. (Tischgespräch, mitgehört in einem romantischen französischen Restaurant).” In Mike Kelely: Peter Fischli, David Weiss, pp. 67-69; pp 63-68. Edited by Rainald Schumacher. Munich Germany: Sammlung Goetz, 2000. Exh. cat.

2001

Kelley, Mike. “A Minor History.” In Mike Kelley. Franz West, pp. 11-12. Edited by Anne Pontégnie. Brussels, Belgium: OneTwoThree, Hôtel Empain; Vienna, Austria: P&S, 2001. Exh. cat.

 —  — -, and Franz West. “To Be Read Aloud.” In Mike Kelley. Franz West, pp.20-43. Edited by Anne Pontégnie. Brussels, Belgium: OneTwoThree, Hôtel Empain; Vienna, Austria: P&S, 2001. Exh. cat.

2002

Kelley, Mike “Memory Ware.” In Mike Kelley: Memory Ware. Paintings and Scuptures, pp. 69-71. Edited by Rafael Jablonka. Cologne, Germany: Jablonka Galerie, 2002. Exh. cat.

Lütticken, Sven. “De infantiliseringscultuur.” De Witte Raaf 96 (March-April 2002): p. 9.

Storr, Robert. “Obscured Visions.” Artforum, March 2002, pp. 114-19.

2003

Cooper, Dennis. “Mike Kelley Talks to Dennis Cooper.” Artforum, April 2003, pp. 224-25.

Kelley, Mike. “Light (Time)-Space Modulator.” In Capp Street Project: 20th Anniversary Exhibition, pp. 81-83. San Francisco, California: CCAC Wattis Institute of Contemporary Arts, 2003. Exh. cat.

2004

Eikmeyer, Robert. “Destroy All Monsters.” In FACE/OFF: Im Körper des Reindes, pp. 63-69. Edited by Robert Eikmeyer. Frankfurt, Germany: Revolver Archiv für aktuelle Kunst, 2004.

Sconce, Jeffrey. “I’ve Got this Strange Feeling: Mike Kelley and Jeffrey Sconce on The uncanny.” Tate etc.(Summer 2004): pp. 88-93.

2005

Waters, John. “Mike Kelley, You Have Made an Epic!” Flash Art, November-December 2005, pp. 54-58.

Welchman, John C., and Mike Kelley. “1000 Words: Mike Kelley Talks About Day Is Done.” Artforum, October 2005, pp. 233-35.

2006

Graw, Isabelle. “Isabelle Graw in Conversation with Mike Kelley.” In Press-Play: Contemporary Artists in Conversation, 380-95. London, England: Phaidon, 2006. [Reprint of 1999 text for Phaidon]

Hershman, Lynn. “Transcript of Interview with Mike Kelley.” July 27, 2006, Santa Monica, California. !W.A.R. collection, Stanford University Libraries. http://lib.stanford.edu/women-art-revolution/transcript-interview-mike-kelley.

Kelley, Mike. “Deodorized Central Mass with Satellites (1991-1999).” In Deodorized Central Mass with Satellites, n.p. Auction cat. New York, New York: Phillips de Pury & Company, 2006.

Rochette, Anne, and Wade Saunders. “Place Matters: Los Angeles Sculpture Today.” Art in America, November 2006, pp. 190-91, 224.

“Speaking Volumes: 19 Interviews.”Art in America, November 2006, p. 190.

Welchman, John C. “God, Family, Fun and Friends: Mike Kelley in Conversation with John C. Welchman.” In Institutional Critique and After, pp. 337-66. Edited by Welchman. Zurich, Switzerland: JRP Ringier, 2006.

2007

Kelley, Mike. “Day Is Done.” In Mike Kelley: Day Is Done, pp. 461-65. Edited by Mark Francis and Mike Kelley. New Haven, Connecticut: Yale University Press, 2007.

 —  — -. “Libretto.” In Mike Kelley: Day Is Done, pp. 519-67. Edited by Mark Francis and Mike Kelley. New Haven, Connecticut: Yale University Press, 2007.

 —  — -. “Scene Notes.” In Mike Kelley: Day Is Done, pp. 487-505. Edited by Mark Francis and Mike Kelley. New Haven, Connecticut: Yale University Press, 2007.

2008

Bogaert, Pieter von. “Mike Kelley over zijn tweed eleven.” (H)art 35 (April 2008): p. 5.

Kelley, Mike. “The Banana Man.” In Mike Kelley, pp. 138-39. Edited by Ingvild Goetz, Karsten Löckemann, and Stephan Urbaschek. Munich, Germany: Sammlung Goetz, 2008. Exh. cat. [Germany translation of English text from 1983; reprinted in Welchman, 2004] See also “Blind Country,” p. 146; “Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene),” p. 164-66; “Fresh Acconci,” p. 158; “Heidi: Midlife Crisis Trauma Center and Negative Media-Engram Abreaction Release Zone,” pp. 152-54; “Kappa,” pp. 142-43; and “One Hundred Reasons,” pp. 148-49.

 —  — -. “Presenting the Preservationist Journal of Hick Erotic Folklore.” In Sex to Sexty. Cologne, Germany: Taschen, 2008.

 —  — -. “Test Room Containing Multiple Stimuli Known to Elicit Curiosity and Manipulatory Responses (1999) and A Dance Incorporating Movements from Experiments by Harry F. Harlow and Choreographed in the Manner of Martha Graham (1999).” In Mike Kelley, pp. 160-61. Edited by Ingvild Goetz, Karsten Löckemann, and Stephan Ursbaschek. Munich, Germany: Sammlung Goetz, 2008. Exh. cat. [German translation of English text from 1999; reprinted in Welchman, 2004]

 —  — -. “Theory, Garbage, Stuffed Animals, Christ. (Dinner Conversation Overheard at a Romantic French Restaurant)” / “Theorie, Müll, Stofftiere, Christus. (Tischgespräch, mitgehört in einem romantischen französischen Restaurant).” In Mike Kelley, pp. 63-68; pp. 58-62. Edited by Ingvild Goetz, Karsten Löckemann, and Stephan Ursbaschek. Munich, Germany: Sammlung Goetz, 2008. Exh. cat.

Kimmelman, Michael. “Shocking People with a Pretty Show.” Berlin Journal (Spring 2008): pp. 26-31.

Löckemann, Karsten, and Stephan Urbaschek. “A Telephone Conversation with Mike Kelley, August 2008” / “Ein Telefongespräch mit Mike Kelley, August 2008.” In Mike Kelley, pp. 83-93; pp. 72-82. Edited by Ingvild Goetz, Karsten Löckemann, and Stephan Ursbaschek. Munich, Germany: Sammlung Goetz, 2008. Exh. cat.

O’Brien, Glenn. “Mike Kelley.” Interview Magazine, December 2008-January 2009, pp. 172-79.

2009

Berwick, Carly. “Mike Kelley: An Interview by Carly Berwick.” Art in America, November 2009, pp. 170-75.

Halle, Howard. “Mike Kelley and Michael Smith.” Time Out New York, August 27, 2009.

Kelley, Mike. “Complex Events Postings.” In Mike Kelley. Educational Complex Onwards, 1995-2008, pp. 76-77. Brussels, Belgium: Wiels, 2009. Exh. cat. [Text from 1995]

 —  — -. “Light (Time)-Space Modulator.” In The Collection Book: Thyssen-Bornemisza Art Contemporary, pp. 220-27. Edited by Francesca von Habsburg. Cologne, Germany: Verlag der Buchhandlung Walther König, 2009. [Reprint of 2003 text]

 —  — -. “Rose Hobart II.” In Mike Kelley. Educational Complex Onwards, 1995-2008, pp. 114-19. Brussels, Belgium: Wiels, 2009. Exh. cat. [Text from 2007]

Rugoff, Ralph. “Existing in an Ahistorical Fantasy Space of Trauma.” In Horizontal Tracking Shots, pp. 115-27. New York, New York: Gagosian Gallery, 2009. Exh. cat.

2010

Kelley, Mike. “Kandors.” In Mike Kelley: Kandors, pp. 53-60. Edited by Rafael Jablonka. Berlin, Germany: Jablonka Galerie, 2010. Exh. cat.

2011

Welchman, John C., ed. On the Beyond. A Conversation between Mike Kelley, Jim Shaw, and John C. Welchman. Vienna, Austria: Springer-Verlag Wien, 2011.

Projects and Covers for Magazines and Journals

“Conserve Energy.” In conjunction with “A Meeting of Media” by Christopher Knight. Los Angeles Herald Examiner, California Living Magazine, November 22, 1981.

Spectable 1 (1984). Drawing.

Beyond Baroque Foundation(Spring 1984): Cover Drawing.

“The Spot Syndrome.” New Observations (1984). With Ericka Beckman

The Paris Review(Fall 1985). Cover image.

Artweek, September 28, 1985. Cover image.

Flanagan, Bob. Slave Sonnets, New York, New York: Cold Clam Press, 1986. Cover design and artwork.

Zyzzyva (Spring 1988). Drawings.

“Artist Page.” Artpaper (February 1988).

“The Silent Scream.” Art Issues 2 (February 1989).

Ruh Roh 1 (December 1992): pp. 16-18.

Color This!: A Collection of Los Angeles Artists’ Drawings. Los Angeles, California: Los Angeles Foundation for Art Resources, Inc., 1994, p. 56.

“Monster Manse.” Grand Street 48 (Summer 1994): pp. 224-33. Text by Mike Kelley, photographs by Daniel Faust, captions by Forrest J. Ackerman.

“Fresh Acconci.” Snowflacke 3, vol. 26 (1996): p. 44. Still photo, with Paul McCarthy.

“Sod and Sodie Sock,” Wirtschaft (Austria) September 23, 1998. Artist page, with Paul McCarthy.

Artist Designed Recipe Cards, 202. Artist’s recipe card.

“Sketchbook Issue.” X-tra 3, vol. 4 (Spring 2002).

“Portfolio/ Mike Kelley: Day Is Done (Extracurricular Activity Projective Reconstruction Series), 2004/2005.” Mouvement Anniversary Issue (March-June 2005): pp. 144-55. Production Stills from Day Is Done.

“Biblische Dame.” Advertisement. Focus Magazin Verlag. September 10, 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.)” Texte zur Kunst (September 2007): pp. 332-33. Advertisement.

“Project Related Flow Chart” Published as a poster fro the exhibition Mike Kelley: Educational Complex Onward 1995-2008, Wiels, 2008. Reprinted in Kelley, Mike and Anne Pontégnie, eds. Educational Complex Onwards 1995-2008. Zurich: JRP Ringier, 2009.

“Pagan Michigan.” Artillery Magazine, April 2009, pp. 24-25.

Visionaire 57 (December 2010): n.p.

Videography

Single channel videos only

Beholden to Victory(edited version of Hail the Fallen featuring Mike Kelley), 1980-83; 26 min.; color/sound

The Futurist Ballet(documentation of a live improvisational event with Jim Shaw and others), 1973; 27 min.; b&w/sound

Grow Live Monsters(a film by Carey Loren with Music by Destroy All Monsters), Lobsterworld Films; 1975/1995; 60 min.; color/sound

The Banana Man, 1983; 28:15 min.; color/sound

Kappa(with Bruce and Norman Yonemoto), 1986; 26 min.; color/sound

Family Tyranny/Cultural Soup(a film by Paul McCarthy with Mike Kelley), 1987; 15:03 min.; color/sound

Blind Country(with Ericka Beckman), 1989; 19:57 min.; color/sound

100 Reasons—Spank O Rama (with Bob Flanagan and Sheree Rose) 1991; 6:41 min.; color/sound

Beat of the Traps (with Anita Pace and Stephen Prina), 1992; 55:22 min.; color/sound. Performed at the Remise, Vienna, Austria, in conjunction with Wiener Festwochen.

Heidi(with Paul McCarthy), 1992/2001; 15 min.; color/sound

Fresh Acconci (with Paul McCarthy), 1995; 45 min.; color/sound

Shake A Lizard Tail or Rust Belt Rump, (by Carey Loren, original soundtrack by Destroy All Monsters), Lobsterworld Films; 1996; 30 min.; color/sound

Clear Day, (video of Destroy All Monsters 1995 reunion tour live in Detroit, Los Angeles, and San Diego), Lobsterworld Films; 1996; 60 min.; color/sound

The Pole Dance(with Tony Oursler and Anita Pace), 1997; 31:18 min.; color/sound

Out O’ Actions (with Paul McCarthy), 1998; 4:25 min.; color/sound

Strange Früt (with Destroy All Monsters), 1998; 60 min.; color/sound

A Dance Incorporating Movements Derived from Experiments by Harry F. Harlow and Choreographed in the Manner of Martha Graham, 1999; 8:32 min.; b&w/silent

Cross Gender/Cross Genre, 1999; 119:06 min.; color/sound

Sod and Sodie Sock (Vienna Cut)(with Paul McCarthy), 1999; 17:38 min.; color/sound

Superman Recites Selections from “The Bell Jar” and Other Works by Sylvia Plath, 1999; 7:19 min.; color/sound

Test Room Containing Multiple Stimuli Know to Elicit Curiosity and Manipulatory Responses, 1999; 51:18 min.; color/silent

A Haute Voix (with Franz West), 2000; 99:46 min.; color/sound

Extracurricular Activity Projective Reconstruction #1 (A Domestic Scene), 2000; 29:44 min.; b&w/sound

Runway for Interactive DJ Event, 2000; 48:23 min.; color/sound

Bridge Visitor (Legend-Trip), 2004;17:53 min.; color/sound

Day Is Done: Extracurricular Activity Projective Reconstruction #2-32, 2005/06; 120:50 min.; color/sound

Masaya Nakahara, Mike Kelley, Paul McCarthy Live in Los Angeles 2008, 2010; 35:40 min.; color/sound

A Voyage of Growth and Discovery(with Michael Smith), 2010; 1:30 min.; color/sound

The Judson Church Horse Dance(written by Mike Kelley, original music by Mike Kelley and Scott Benzel, choreography by Kate Foley and Mike Kelley), 2011; 70 min.; color/sound

Mobile Homestead Documentary (suite of three videos):

Going East of Michigan Avenue from Westland to Downtown Detroit, 2011; 76:17 min.; HD video, color/sound

Going West of Michigan Avenue from Downtown Detroit to Westland, 2011; 76:15 min.; HD video, color/sound

Mobile Homestead Christening Ceremony and Launch, September 25, 2010, 2011; 55:01 min.; HD video, color/sound

Extracurricular Activity Projective Reconstruction #36 (Vice Anglais), 2011; 25:14 min.; HD video, color/sound

Extracurricular Activity Projective Reconstruction #36 B (Made in England), 2011; 27:59 min.; HD video, color/sound

The Judson Church Horse Dance: Selections from Mike Kelley’s “Day Is Done: and “The Offer” (Extracurricular Activity Projective Reconstruction #33), 2011; 1:10 min.; color/sound

Discography

Mike Kelley, The Peristaltic Airwaves & Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile, High Performance Audio, 1987 (audiocassette)

Mike Kelley with Sonic Youth, extracts from Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile, Tellus: The Audio Cassette Magazine, No. 18, 1988 (audiocassette)

The Dogz, It’s Easter in my Brain/Willy Nilly. Produced and arranged by Jim Shaw. Cameo Appearance Records, 1990 (45 rpm)

Raymond Pettibon and Super Session, Torches and Standards. Blast First Records, 1990 (disc 33 1/3 rpm)

Destroy All Monsters, 1974-1976. Ecstatic Peace/Father Yod, 1994 (3-CD box-set)

Mike Kelley, Dry Hump, Oostende 94. Bigg Truck Records, 1994 (CD compilation)

Jim Shaw, Good Locking Corpse, Oostende 94. Bigg Truck Records, 1994 (CD compilation)

Destroy All Monsters, Live in Detroit. Ecstatic Peace, Father Yod, 1995 (7” EP)

Destroy All Monsters, Paranoid of Blondes. Sympathy for the Record Industry, 1995 (45 rpm)

Ann Magnuson, The Luv Show. Collaboration with Super Session. Geffen Records, 1995 (CD)

Destroy All Monsters, Grow Live Monsters. Special edition boxed audiocassette and mini-book. Time Stereo, 1995

Destroy All Monsters, My Cowboy Hero/Calling All Girls. Flexi-record released in “Geisha This,” Destroy All Monsters Magazine. First printing, Time Stereo, 1995

Destroy All Monsters, Silver Wedding Anniversary. Sympathy for The Record Industry, 1996 (CD; rereleased as Compound Annex #6, 1998)

Destroy All Monsters, Backyard Monster Tube. The End is Here/Time Stereo, 1996 (audiocassette)

Carey Loren, Radio Teardrop. Includes mixes of Destroy All Monsters tracks. The End is Here Records, 1996 (edition of 500 CDs)

The Poetics, The Poetics: Remixes of Recordings 1977 to 1983, Compound Annex #1, #2, and #3. Compound Annex Records, 1997 (3-CD box-set)

The Poetics,Critical Inquiry in Green, Compound Annex #4. Compound Annex Records, 1997 (CD)

Gobbler, Skin of Flesh All Mighty!, Compound Annex #5. Compound Annex Records, 1997 (CD)

Destroy All Monsters, “Raga,” Bring Your Own Walkman!. Produced by W139 Amsterdam and Jack Jaegger, 1997 (CD compilation)

Gobbler, “Manamana”, Bring Your Own Walkman!Produced by W139 Amsterdam and Jack Jaegger; 1997 (CD compilation)

Destroy All Monsters, Typical Girl/Attack of the Chiggers. Flexi-record released in “Geisha This,” Destroy All Monsters Magazine. Third Printing, Time Stereo, 1997

Destroy All Monsters, “Mom’s and Dad’s Pussy,” Gummo soundtrack. London Records, 1997 (CD compilation)

Mike Kelley, “Odd Man Out” and “The Hole,” in Crossings: Kunst Zum Horen un Sehen. Released with catalogue on the occasion of the exhibition Crossings: Sum Horen un Sehen. Kunsthalle Wien, 1998 (CD compilation)

Destroy All Monsters, Backyard Monster Tube and Pig. Released by The End is Here, 1998 (CD); songs 1-11 previously released as Backyard Monster Tubeby Time Stereo, 1996)

Mike Kelley/Paul McCarthy/Violent Onsen Geisha, Sod and Sodie Sock, Compound Annex #7. Compound Annex Records, 1998 (CD, released with Studio C)

Mike Kelley/Paul McCarthy/Violent Onsen Geisha, Studio C, Compound Annex #8. Compound Annex Records, 1998 (CD, released with Sod and Sodie Sock)

Destroy All Monsters, “Boots,” Make it Funky. Released with Make it Funky: Crossover zqischen Musik, Pop, Avantgarde and Art, edited by Ulrike Groos and Markus Muller, Cologne: Oktagon, 1998 (Jahresring 45, CD compilation)

Mike Kelley, “Lock Groove #258,” Various 500 Lock Grooves By 500 Artists. RRR records, 1999 (LP compilation)

Mike Kelley, “Unititled (Voices),” RAS #4. Revista de Arte Sonoro, Centro de Creación Experimental, Universidad de Castilla-La Mancha, 1999 (CD compilation)

Mike Kelley, Black Betty. Published for the exhibition Kim’s Bedroom, curated by Kim Gordon. Mu-De Witte Dame, Eindhoven, The Netherlands, 2000 (CD)

Mike Kelley, Paul McCarthy, Violent Onsen Geisha, “Born on the Catwalk,” Rearcar. Leiterwager Records, 2001 (CD compilation)

Jean Baudrillard with Change Band, Suicide Moi, Compound Annex #9. Compound Annex Records, 2002 (CD)

Destroy All Monsters, “Silver Wedding Anniversary, Pig,” Music in Me 1 (Concerting an exhibition). By Octavian Esanu. Geselleschaft für Aktuelle Kunst, Bremen, 2002 (CD compilation)

Destroy All Monsters, The Detroit Oratorio, Compound Annex #10. Recorded live in Rotterdam and Vienna, 1998. Compound Annex Records, 2003 (CD)

Mike Kelley and Scanner, Espirits de Paris, Compound Annex #11. Compound Annex Records, 2003 (CD)

Mike Kelley, Paul McCarthy, Violent Onsen Geisha, Comp. O.S.O., Compound Annex #12. Compound Annex Records, 2003 (CD)

Destroy All Monsters, Live in Osaka and Tokyo, Compound Annex #13. Compound Annex Records, 2004 (CD)

Mike Kelley and Scott Benzel, Day Is Done, Compound Annex #14. Original Motion Picture Soundtrack. Compound Annex Records, 2005 (CD)

Mike Kelley, Yummy Puffy Mommy Yoni, Compound #15. Compound Annex Records, 2008 (CD)

Destroy All Monsters, Double Sextet, Compound #16. Compound Annex Records, 2009 (LP)

Destroy All Monsters, 1974-76, Compound #17, #18, and #19. Compound Annex Records, 2009 (CD)

Mike Kelley and Scott Benzel, Dance Beats for Baby with Baby Ikki, Compound #20. Compound Annex Records, 2009 (CD)

Dolphin Explosion, Boogie Man, Compound #24. Compound Annex Records, 2011 (CD)

Mike Kelley, Kandor 10/Extracurricular Activity Projective Reconstruction #34, Kandor 12/Extracurricular Activity Projective Reconstruction #35, Compound #25. Original Soundtrack. Compound Annex Records, 2011 (CD)

Jim Shaw and Mike Kelley, Duets (1975-1976), Compound #34 and #35. Compound Annex Records, 2011 (CD)

Mike Kelley, Vice Anglais, Compound #36. Compound Annex Records, 2011 (LP)

Destroy All Monsters, Get Out of my Bedroom: A Mixtape. Included in Hungry for Death: Destroy All Monsters, edited by Cary Loren, exh. cat., Boston: Journeyman Press, 2011. End is Here, 2011 (CD)

Mike Kelley and Black to Comm, Coldplay, Elvis & John Cage. EN/OF 041, 2011 (LP with print)

Mike Kelley with Sonic Youth, Plato’s Cave, Rothko’s Chapel, Lincoln’s Profileand The Peristaltic Airwaves, Compound Annex #38. Compound Annex Records, 2012 (2-CD set; portions of both were previously released in 1987 on audiocassette)

Mike Kelley and Scott Benzel, Profondeurs Vertes, Compound Annex #39. Compound Annex Records, 2012 (CD)