Mike Kelley (1954-2012)
Specified lots (sold and unsold) marked with a fil… Read more NEXT CHAPTER: CONTEMPORARY ART FROM A PRIVATE ITALIAN COLLECTION
Mike Kelley (1954-2012)

Island Potpourri Christmas Lingam and Yoni

Details
Mike Kelley (1954-2012)
Island Potpourri Christmas Lingam and Yoni
found metallic objects, plastic objects, shells, glass marbles, cement, soil, acrylic, clay, resin bowl and painted wooden base
sculpture: 11 ¾ x 20 1/8 x 20 1/8in. (30 x 51 x 51cm.)
overall: 48 3/8 x 20 1/8 x 20 1/8in. (123 x 51 x 51cm.)
Executed in 2002
Provenance
Galleria Emi Fontana, Milan.
Acquired from the above by the present owner.
Special Notice
Specified lots (sold and unsold) marked with a filled square not collected from Christie’s by 5.00 pm on the day of the sale will, at our option, be removed to Cadogan Tate. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage. Please call Christie’s Client Service 24 hours in advance to book a collection time at Cadogan Tate Ltd. All collections will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Lot Essay

Executed in 2002, Island Potpourri Christmas Lingam and Yoni and Sprinkle Lingam Paperweight both form part of Mike Kelley’s celebrated ‘Lingam and Yoni’ series. In this series, Kelley used soil, dirt and found objects from islands around the Detroit River to construct variations of the Lingam and Yoni: the Hindu iconography for the male and female genitalia. Kelley recasts these ancient physical symbols of sexual union as bright, kitschy objects, and further challenges traditional ritual associations by employing the decorative household mundanity of sprinkles and potpourri. Kelley’s first eight sculptures in the series were followed by these two works, whose bright colour schemes evoke a specific connection to a Land O’ Lakes butter package. The seated figure of the Land O’ Lakes branding is echoed both works, particularly in the festive tree which takes the place of the traditional Lingam in Island Potpourri Christmas Lingam and Yoni. Combining castaway objects with these perversely consumerist overtones to conjure a mystic sexual fantasy, Kelley exposes the deep psychological grip of capitalist imagery on American lives. He enacts a deconstruction of ceremony, monument and tradition, shot through with the illusive warp of his own memory and personal history. Transforming banal items into charged totems, Kelley imbues his work with sharp wit and an unnerving new divinity.

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