Why I Got Into Art (Vaseline Muses)
Anonymous [Mike Kelley]
1991
Why I Got Into Art (Vaseline Muses)
Why I Got Into Art (Vaseline Muses)
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Published anonymously on the occasion of Mike Kelley’s solo exhibition Why I Got into Art at Jablonka Galerie, Cologne, in 1989, this publication might initially read as a pin-up sequence. Upon closer inspection, we encounter ...
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Why I Got Into Art (Vaseline Muses)
Anonymous [Mike Kelley]
1991
Cologne: Jablonka Galerie and Verlag der Buchhandlung Walther König
Unpaginated [180 pages]
21 × 13.7 cm
Edition of 1,000

Published anonymously on the occasion of Mike Kelley’s solo exhibition Why I Got into Art at Jablonka Galerie, Cologne, in 1989, this publication might initially read as a pin-up sequence. Upon closer inspection, we encounter re-photographed images of 1970s feminist artists – including Yoko Ono, Carolee Schneemann, Hannah Wilke, and Lynda Benglis – documented in happenings, performances, guerrilla actions, avant-garde theatre, or gallery advertisements. To emulate the look of vintage soft-core adult magazines, Kelley photographed the original images through a Vaseline-smeared lens.


 


The question remains: is this really the reason Kelley “got into art”? Or, acting as the astute psychologist he was, does he play with stereotypes surrounding female corporeality in order to lure the viewer into the role of a voyeur?

Cologne: Jablonka Galerie and Verlag der Buchhandlung Walther König
Unpaginated [180 pages]
21 × 13.7 cm
Edition of 1,000

Published anonymously on the occasion of Mike Kelley’s solo exhibition Why I Got into Art at Jablonka Galerie, Cologne, in 1989, this publication might initially read as a pin-up sequence. Upon closer inspection, we encounter re-photographed images of 1970s feminist artists – including Yoko Ono, Carolee Schneemann, Hannah Wilke, and Lynda Benglis – documented in happenings, performances, guerrilla actions, avant-garde theatre, or gallery advertisements. To emulate the look of vintage soft-core adult magazines, Kelley photographed the original images through a Vaseline-smeared lens.

 

The question remains: is this really the reason Kelley “got into art”? Or, acting as the astute psychologist he was, does he play with stereotypes surrounding female corporeality in order to lure the viewer into the role of a voyeur?

DESCRIPTION

Published anonymously on the occasion of Mike Kelley’s solo exhibition Why I Got into Art at Jablonka Galerie, Cologne, in 1989, this publication might initially read as a pin-up sequence. Upon closer inspection, we encounter re-photographed images of 1970s feminist artists – including Yoko Ono, Carolee Schneemann, Hannah Wilke, and Lynda Benglis – documented in happenings, performances, guerrilla actions, avant-garde theatre, or gallery advertisements. To emulate the look of vintage soft-core adult magazines, Kelley photographed the original images through a Vaseline-smeared lens.

 

The question remains: is this really the reason Kelley “got into art”? Or, acting as the astute psychologist he was, does he play with stereotypes surrounding female corporeality in order to lure the viewer into the role of a voyeur?

Cologne: Jablonka Galerie and Verlag der Buchhandlung Walther König
Unpaginated [180 pages]
21 × 13.7 cm
Edition of 1,000

Published anonymously on the occasion of Mike Kelley’s solo exhibition Why I Got into Art at Jablonka Galerie, Cologne, in 1989, this publication might initially read as a pin-up sequence. Upon closer inspection, we encounter re-photographed images of 1970s feminist artists – including Yoko Ono, Carolee Schneemann, Hannah Wilke, and Lynda Benglis – documented in happenings, performances, guerrilla actions, avant-garde theatre, or gallery advertisements. To emulate the look of vintage soft-core adult magazines, Kelley photographed the original images through a Vaseline-smeared lens.

 

The question remains: is this really the reason Kelley “got into art”? Or, acting as the astute psychologist he was, does he play with stereotypes surrounding female corporeality in order to lure the viewer into the role of a voyeur?

MORE BOOKS

Published anonymously on the occasion of Mike Kelley’s solo exhibition Why I Got into Art at Jablonka Galerie, Cologne, in 1989, this publication might initially read as a pin-up sequence. Upon closer inspection, we encounter re-photographed images of 1970s feminist artists – including Yoko Ono, Carolee Schneemann, Hannah Wilke, and Lynda Benglis – documented in happenings, performances, guerrilla actions, avant-garde theatre, or gallery advertisements. To emulate the look of vintage soft-core adult magazines, Kelley photographed the original images through a Vaseline-smeared lens.

 

The question remains: is this really the reason Kelley “got into art”? Or, acting as the astute psychologist he was, does he play with stereotypes surrounding female corporeality in order to lure the viewer into the role of a voyeur?

MORE BOOKS