|Craft Morphology Flow Chart|
Pay For Your Pleasure (above), created for the Renaissance Society of the University of Chicago, consists of a hall of blown up, institutional posters of authors and artists implying their practice is the sublimation of the criminal mind "I do not understand laws. I have no moral sense. I am a brute" (Rimbaud) "If you encounter charlatans, reason with them.. if they resist, be bold enough to drown them" (Giotto) "I erect myself at the exact point where knowledge touches madness, and I can erect no safety rail" (Balzac) "I call 'monster' all original, inexhaustible beauty" (Jarry) leading to the 'low art' of the work of an actual local criminal which is studied to decipher their psychology. I saw this installation in his previous retrospective and the criminal's work was an uninteresting portrait - this time the criminal's was good enough, a sort of cosmological abstraction, that I thought the previous concept had been forgone and a work of Kelley's had been inserted - as he is all over the map graphically, including attempted skill levels. A hallway is typically decorated to condition the visitor to the decorum sought in the rooms and this does the opposite, as when he proposed*** to decorate an office complex by blowing up cartoons on secretary's desks to a large scale, placing "If assholes could fly, this place would be an airport" in large letters next to the conference table. The exhibition includes From Our Institution to Yours (below) in which he blew up drawings made by his art school's security guards, warning the working class against 'false images,' as the personification of animals exists in church and state as well as folk art and cartoons.
|I think Mike wants us to see Accatone soon|
The snowfalls have left Clyfford Still-like markings on the exterior of PS1, and Still would be an example of an artist for whom a single work has a resonance which, if somehow quantified, could score relatively favorably against the resonance of his entire oeuvre - Kelly, despite flashes of mastery of materials and inventive draftsmanship, inhabits the other side of that scale, as he was prolific and evocative with a minimum of repetition, so conducive to the Posthumous Retrospective space this is. Despite his many imitators, there will never, ever be another show like this one.
* His We Communicate Only through Our Shared Dismissal of the Pre-linguistic: Fourteen Analyses was a critique of the socialization of art
** ..after Art Institute of Chicago rejected him because he was 'too Chicago' as they were trying to copy Baldessari at Cal Arts
*** Proposal for the Decoration of an Island of Conference Rooms (with Copy Room) for an Advertising Agency Designed by Frank Gehry