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Lot Essay
« De cette manière, Kelley resserre les vices, attrapant nos consciences coupables, poussant les barrières de ce que l’on peut considérer comme qualitatif, comme ayant une valeur artistique. Soixante-dix ‘Garbage Drawings’ ou soixante photographies identiquement proportionnées de peluches reparties à travers les murs de galeries ou musées indiquent peut-être de manière inconsciente la multiplication du mal, de l’endommagé et du cryptique, comme une expansion culturelle et occupation de l’espace. » Thomas Kellein, Is evil really evil ?, Mike Kelley, Cantz, 1992
“In this way Kelley turns the screw even tighter, reaching into our guilty consciences, pushing at the boundaries of what we can consider to be quality, of artistic value. Seventy five ‘Garbage Drawings’ or sixty identically proportioned black and white photographs of stuffed dolls, regimented across the walls of galleries and museums, indicate, perhaps unintentionally, a multiplication of evil, of the damaged and the cryptic, as a cultural expansion and occupation of real space.” Thomas Kellein, Is evil really evil?, Mike Kelley, Cantz, 1992
“In this way Kelley turns the screw even tighter, reaching into our guilty consciences, pushing at the boundaries of what we can consider to be quality, of artistic value. Seventy five ‘Garbage Drawings’ or sixty identically proportioned black and white photographs of stuffed dolls, regimented across the walls of galleries and museums, indicate, perhaps unintentionally, a multiplication of evil, of the damaged and the cryptic, as a cultural expansion and occupation of real space.” Thomas Kellein, Is evil really evil?, Mike Kelley, Cantz, 1992