Yesterday the seminal contemporary American artist Mike Kelley, who was born in Detroit in 1954 and had been based in Los Angeles for many years, was found dead at his home there from an apparent suicide—especially worthwhile obituaries are in the L.A. Times, New York Times, Guardian and on Glenn O'Brien's blog. Working in an incredibly broad range of media from drawings and paintings to video, installation and sculptures made from eviscerated stuffed animals, Kelley rose to prominence in the 1990s. He had recently been selected to participate in the 2012 Whitney Biennial, which will be his eighth. Throughout his many different uses of media and collaborations, perhaps the greatest constant in Kelley's practice was a sharp sense of humor that often incorporated pop culture references and abject imagery. Accordingly, this selection of his funniest work is not for the squeamish.
"Monkey's Ass" (1981): Undoubtedly the funniest of a series of such paintings formed by two joined triangular canvases, and of Kelley's many, many paintings of buttholes.
"The Territorial Hound" (1984): This should make Kelley's allegiance in the cultural rivalry between Los Angeles and New York fairly clear.
"Family Tyranny/Cultural Soup" with Paul McCarthy (1987): McCarthy was something of a mentor for Kelley, and they collaborated several times, but this is their funniest video together (with the possible exception of "Heidi," 1992).
"More Love Hours Than Can Ever Be Repaid and The Wages of Sin" (1987): Kelly's many sculptures made from cut-apart and flattened stuffed animals are nightmarish delights.
"Eviscerated Corpse" (1989): Like many Kelley works, this one uncomfortably turns cutesy materials into an incredibly violent image.
"Heart with a Fancy Hat" (1989): Mike Kelley, master of the hilarious matter-of-fact title.
"Arena #10 (Dogs)" (1990): It's the stuffed dog draft-stopper centipede!
"Jesse Helms Protest Sign" (1990): Sometimes Kelley's critiques of bourgeois values and conservatism of all sorts became very pointed and political.
"Farm Girl" (2006): Surely the most expressive scarecrow since The Wiz.
"Fuck Me, I'm Irish" (2009): Undoubtedly the best piece of St. Patrick's Day art ever made.
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