Bibliographie

Ouvrages généraux et monographiques (sélection)

Art at Ringier 1995-1998, Zurich (Suisse), Ringier, 1999.
Columbia, A Journal of Literature and Art, New York (Etats-Unis), Columbia University, 1999.
My Name, Sammlung Falkenberg, Cologne (Allemagne), Oktagon, 1999.
New Art, New York (Etats-Unis), H. N. Abrams, 1990.
Not Afraid, Rubell Family Collection, New York (Etats-Unis), Phaidon, 2004, p. 136, 137,139.
The Lannan Collection, Chicago, Ill. (Etats-Unis), Art Institute of Chicago, Museum Studies, vol. 25, n.1. 2000.
BOIS Yve-Alain, KRAUSS Rosalind E., Formless, a User's Guide, New York (Etats-Unis), Zone Books, 1997.
BONAMI Francesco, FRISA Maria Luisa, TONCHI Stephano [éd.], Uniform Order and Disorder, Milan (Italie), Charta, 2000.
BOULTON Marion [éd.], New Material As New Media, the Fabric Workshop and Museum, Cambridge, Mass. (Etats-Unis), MIT Press, 2002.
FUKU Noriko, the Now Art Book, Kyoto (Japon), Korinsha Press, 1996, p. 84-86.
HAINLEY Bruce, WATERS John, Art-A Sex Book, Londres (Royaume-Uni), Thames & Hudson, 2003.
HONOUR Hugh, FLEMING John [éd.], A World History of Art, Londres (Royaume-Uni), L. King Publ., 2002, p. 902-903.
KAUFFMAN Linda [éd.], Bad Girls and Sick Boys, Berkeley, Calif. (Etats-Unis), University of California Press, 1998.
MILLER Bernie, WARD Melony, Crime and Ornament, Toronto, Ont. (Canada), YYZ Books, 2002, p. 116-133.
MOISDON Stéphanie [dir.], Qu’est-ce que l’art vidéo aujourd’hui ? Boulogne (France), Beaux-arts éditions, 2008, p. 128-129.
NOEVER Peter [éd.], Art in the Center, Two Discussions on Documenta X, Vienne (Autriche), MAK-Austrian Center for the Applied Arts, 1997.
PRINCETHAL Nancy, DOWLEY Jennifer, A Creative Legacy, A History of The National Endowment for The Arts Visual Artists’ Fellowship Program 1966-1995, New York (Etats-Unis), H. N. Abrams ; Washington, D.C. (Etats-Unis), National Endowment for the Arts, 2002.
TAYLOR Brandon, Art Today, Londres (Royaume-Uni), L. King Publ., 2005.
VIDLER Anthony, Warped Space, Cambridge, Mass. (Etats-Unis), MIT Press, 2000.


Ecrits de l’artiste (sélection)

"Ahh . . . Youth !", 21st Century, hiver 1991-1992, p. 4-11.
"Ajax", Journal, Los Angeles Institute of Contemporary Art, printemps 1984.
"Excerpts from Plato's Cave, Rothko's Chapel, Lincoln's Profile", File, n. 27, printemps 1987.
"Excerpts from Plato's Cave, Rothko's Chapel, Lincoln's Profile", Journal, Los Angeles Institute of Contemporary Art, automne1985.
"Foul Perfection, Thoughts on Caricature", Artforum, 27 janvier 1989, p. 92-99 ;
"In the Image of Man", Carnegie International, vol. 1, New York (Etats-Unis), Rizzoli ; Pittsburgh, Pa. (Etats-Unis), Carnegie Museum of Art, 1991, p. 94 ; Documents sur l'art, automne 1997, p.136-137.
"Mekanik Destruktiw Kommandoh, Survival Research Laboratories and Popular Spectacle", Parkett, n. 21, 1989.
"Meditation on a Can of Vernors", High Performance, n. 17-18, printemps-été 1982 (Artists' Chronicle).
"Monkey Island", Cave Canem, Artist's Anthology, septembre 1982.
"Monkey Island", Lightworks, février 1981.
"Slow Boat to Lesbos", Barney,1984.
"The Monitor and the Merrimac", High Performance, n. 14, été 1981 (Artists' Chronicle).
"The Parasite Lily", High Performance, n. 11-12 automne-hiver 1980 (Artist's Chronicle).
"The Poltergeist", Journal, Los Angeles Institute of Contemporary Art, Septembre 1980.
"The Runaway Wheel", Journal, Los Angeles Institute of Contemporary Arn. 20, automne1988.
"Urban Gothic", Spectacle, n. 3, 1985.
AUPETITALLOT Yves, RICKELS Laurence, KELLEY Mike, “The Meaning is Confused Spatiality, Framed”, Mike Kelley, Grenoble (France), Le Magasin, Centre national d’art contemporain, 1999.
KELLEY Mike, WEST Franz, To be read aloud A lire a haute voix, Vienne (Autriche), Pakesch & Schlebrugge, 1999.
KELLEY Mike, WELCHMAN John C., GRAW Isabelle, VIDLER Anthony, Mike Kelley, Londres (Royaume-Uni), Phaidon, 1999.


Livres d’artiste (sélection)

KELLEY Mike, The Uricanny, Arnhem (Pays-Bas), Sonsbeek, 1993.
KELLEY Mike, Reconstructed History, Cologne (Allemagne), Galerie Gisela Capitain ; New York(Etats-Unis), T. Westreich, 1990.
KELLEY Mike, Plato's Cave, Rothko's Chapel, Lincoln's Profile, Venice, Calif.(Etats-Unis), New City Editions ; New York(Etats-Unis), Artist's Space, 1986.


Entretiens (sélection)

Mike Kelley, Thomas Kellein, A Conversation, Stuttgart (Allemagne), Cantz, 1994.
"Mike Kelley, Tony Oursler, entretien", L'Horreur Comique, Esthétique Du Slapstick, Paris (France), Editions du Centre Pompidou, 2004, p. 147-157.
“Mike Kelley Talks to Dennis Cooper”, Artforum 40th Anniversary Special Issue, The 1980s, Part 2, April 2003, P. 224-225, 255.
“Mike Kelley Babbles, Bullshits, and Speaks in Toungues”, Conduit, n. 1, printemps 2001.
“Here Comes Everybody, A Conversation between Jim Shaw and Mike Kelley”, Mike Kelley, Luxembourg (Luxembourg), Casino Luxembourg-Smart Art Press, 1999.
"The Dirty Boys, Conversations with Mike Kelley and John Waters", Grand Street: Dirt, n. 57, 1996, p. 8-22.
ALBERTINI Rosanna, “On the Sex of Art”, Artpress, n. 205, septembre 1995, p. 42-43.
BESSA Sergio, « Historic Kiosk », Zingmagazine, n. 2, été 1998.
BRONSON A. A., “Excerpts from a Conversation, Mike Kelley and A. A. Bronson”, Mississauga, Ont. (Canada), University of Toronto at Mississauga, Blackwood Gallery, 2003.
KELLEY Mike, DIEDERICHSEN Diederich, REBENTISCH Juliane, “Geheimgeschichten, Interviews with Mary Woronov, A. A. Bronson, Sebastian and Pamela DES BARRES, Text zur Kunst, septembre, 1999.
BALKENHOL Bernhard, GEORGSDORF Heiner, Cassel (Allemagne), Documenta 10 [livre], Universitat Gesamthochschule, 1998.
BREITENBERG Mark, « Freak Culture », Art & Text, février-avril 2000, p. 54-61.
BRUGEROLLE Mary de, „Frangments et bribes“, Trouble, n. 2, 2002, p. 110-117.
BURNICHON Marie-Cécile, « Special Ketchup Forces, interview with Mike Kelley », O2, n. 28, hiver 2003-2004, p. 32-33.
CHEVRIER Jean-François, “Mike Kelley”, Galerie Magazine, n. 89-91, 1991, p. 153-155.
COLIN Kim, SKILES Mark, « Missing Space-Time, a Conversation with Mike Kelley”, Offramp, n. 6, 1995, p. 80-99.
COOPER Dennis, “Mike Kelley talks to Dennis Cooper”, Artforum, avril 2003, p. 224-225.
COTTER Holland, “Eight Artists”, Art in America, mai 1987, p. 162-197.
CRANSTON Meg, “Deploy all Monsters”, Raygun, avril 1999.
DINNER Christ, "Theory, Garbage, Stuffed Animals, Christ Dinner Conversation Overheard at a Romantic French Restaurant", Forehead, n. 2, 1989, p. 12-21.
GORDON Kim, "Forget M-M, K-T is the Trip", Fama & Fortune Bulletin, n. 8, novembre 1991.
GREENSTEIN M. A., "Mike Kelley on the Aliens Among Us", World Art, 14 novembre 1997, p. 48-53.
JOCKS Heinz-Norbert, "Mit sex kann man der Bourgeoisie heute keinen Schlag mer verpassen", Kunstforum, n. 130, mai-juillet 1995, p. 273-293.
KELLEIN Thomas, Mike Kelley-Thomas Kellein, a Conversation, Stuttgart (Allemagne), Cantz, 1994.
KOETHER Jutta, "Jutta Koether 100% Malerie oderi>Kunstforum, n. 134, mai-septembre 1996, p. 242-248.
KOTHENSCHULTE Daniel, “Black Nostalgia, an Interview with Mike Kelley”, Mike Kelley, Braunschweig (Allemagne), Kunstverein ; Cologne (Allemagne), W. Konig, 1999.
MARTIN Timothy, "Mike Kelley im Gesprach mit Timothy Martin, Wien, 1992",Kunstlerinnen, n. 50, 1997, p. 138-141.
McMULLEN Dan, "Interview with Mike Kelley", Artists News, février 1981.
MILLER John, "Die Depolitisierung der Hippiekultur trug zu ihrer Mystifizierung bei." Kunstforum, n. 134, mai-septembre 1996, p. 1999-205.
MILLER John [entretien], BARTMAN Williams S., BAROSH Miyoshi [éd.], Mike Kelley, New York (Etats-Unis), Art Resources Transfer, 1992.
PERDICES José Alvaro [entretien], “My Universal System is a Dystopian One”, Sin Titulo, Cuenca (Espagne), Centro de Creacion Experimental, vol.5, 1998.
REID Larry [entretien], "Sympathy for Stuffed Animals and UFO Abductees, Kelley Explains Himself and Destroy All Monsters", Juxtapoz, printemps 1995, p. 28-35.
ROLLIG Stella, "Die Kunst wird wie die Liebe vollig grundlos fur ein Vergnugen gehalten." Artis, février 1992, p. 16-22.
RUGOFF Ralph, "Dirty Toys, Mike Kelley Interviewed", 21st Century, hiver 1992, p. 4-11.
SANDERS Mark [entretien], "Blah, Blah, Blah", Dazed and Confused, n. 17, 1995, p. 80-83.
SENTINERY Robert [entretien], "Mike Kelley, Form and Disfunction", Zone 3, n. 2, 1994, p.13-18.
SONIC YOUTH [entretien], August, 2004, p. 94-95.
SMITH Michael [entretien], "Mike Kelley", Shiny, n. 3, 1987.
SMITH Michael [entretien], "Mike Talks to Mike About Mike", High Performance, n. 33, 1986.
STORR Robert, "An Interview With Mike Kelley", Art in America, juin 1994, p. 90-93.
SYLVESTER Julie, "Talking Failure", Parkett, n. 31 1992, p.100-103.
TAYLOR Paul, "Interview with Mike Kelley", Flash Art, octobre 1990.
WELCHMAN John [éd.], Minor Histoires, Statements, Conversations, Proposals, Cambridge, Mass. (Etats-Unis), MIT Press, 2004.


Catalogues d’expositions (sélection)

50 especes d’espaces, oeuvres du Centre Georges Pompidou, Musée national d’art moderne, Paris (France), Editions du Centre Pompidou ; Réunion des musées nationaux, 1998.
1985 Biennial Exhibition, New York (Etats-Unis), Whitney Museum of American Art, 1995.
1993 Biennial Exhibition, New York (Etats-Unis), Whitney Museum of American Art, 1993.
Allegories of Modernism, Contemporary Drawing, New York (Etats-Unis), Museum of Modern Art, 1992.
American Stories, Amidst Displacement and Transformation, Tokyo (Japon), Setagaya Museum of Art, 1997.
American Playhouse, the Theatre of Self-Presentation, Toronto, Ont. (Canada), Power Plant, 1998.
Artists Take on Detroit, Projects for the Tricentennial, Detroit, Mich. (Etats-Unis), Detroit Institute of the Arts, 2001.
Au-dela du Spectacle, Paris (France), Musée national d’art moderne, Editions du Centre Pompidou, 2000.
Awards in The Visual Arts 7, Winston-Salem, N.C. (Etats-Unis), South Eastern Center for Contemporary Art, 1988.
Biennale de Lyon, Lyon (France), Biennale de Lyon ; Fage Editions, 2003.
Biennale di Venezia, Aperto '88, Venise (Italie), 1988.
California Artists, William T. Wiley, Mike Kelley, Brad Dunning, Ridgefield, Conn. (Etats-Unis), Aldrich Museum of Contemporary Art, 1991.
Catalogue raisonné, Collection of Contemporary Art Fundación “la Caixa” vol.1, Barcelone (Espagne), Fundación “la Caixa”, 2002.
Catalogue raisonné, Collection of Contemporary Art Fundación “la Caixa” vol.2, Barcelone (Espagne), Fundación “la Caixa”, 2002.

Currents 7, Words in Action, Milwaukee, Wis. (Etats-Unis), Milwaukee Art Museum, 1985.
[Cut]-Los Angeles 90's Art Scene, Copenhague (Daneùark), Kunstforeningen, 1994.
Dirty Data, Sammlung Schurmann, Hambourg (Allemagne), Deichtorhallen, 1994.
Dirty Data, Sammlung Schurmann, Aachen (Allemagne), Ludwig Forum fur Internationale Kunst, 1992.
Distemper, Dissonant Themes in the Art of the 1990s, Washington, D.C. (Etats-Unis), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1996.
Documenta 10 [catalogue], Stuttgart (Allemagne), Cantz, 1997.
Do it, Perth (Australie), Lawrence Wilson Art Gallery, University of Western Australia, 2001.
Do it, Klagenfurt (Autriche), Hermann Gmeinerstrasse, 1996.
Drawing, Reaffirming the Media, Kansas City, Mo. (Etats-Unis), Gallery of Art, University of Missouri, 1994.
Drawings, Acquisitions 1980-91, New York (Etats-Unis), Whitney Museum of American Art, 1991.
Emotion, Junge britische and amerikanische Kunst aus der Sammlung Goetz, Hambourg (Allemagne), Deichtorhallen Hamburg, 1998.
Engel:Engel, Vienne (Autriche), Kunsthalle Wien, 1997.
Exhibition, Tenth Anniversary, Valencia, Calif. (Etats-Unis), California Institute of the Arts, 1981.
Explorations 1983-84, Valencia, Calif. (Etats-Unis), California Institute of the Arts, 1984.
Eye Infection, Amsterdam (Pays-Bas), Stedelijk Museum, 2001.
Family Values, American Art in the Eighties and Nineties, Hambourg (Allemagne), Hamburger Kunsthalle, Galerie der Gegenwart ; Ostfildern (Allemagne), Cantz, 1996.
Femininmasculin, le sexe de l'art, Paris (France), Musée national d’art moderne-Centre de création industrielle ; Edition du Centre Pompidou, 1996.
First Show, Painting and Sculpture from Eight Collections 1940-1980, Los Angeles, Calif. (Etats-Unis), Museum of Contemporary Art, 1983.
First Valencià Biennial, Communication Between the Arts, The Passions, Valence (Espagne), IVAM,Institut Valencià d’art modern, 2001.
Fourteenth World Wide Video Festival 1996, La Haye (Pays-Bas), Stichting World Wide Video Centre, 1996.
Gothic, Boston, Mass. (Etats-Unis), Institute of Contemporary Art, 1997.
Groei, In de Collectie Peter Stuyvesant, Amsterdam (Pays-Bas), Rothmans International European Headquarters, 1997.
Guys Who Sew, Santa Barbara, Calif. (Etats-Unis), University of California, University Art Museum, 1994.
Individual Realities, Tokyo (Japon), Sezon Museum of Art, 1991.
In Search of Self, Durham, N.C. (Etats-Unis), University Museum of Art, 1993.
Is It Art ? Transgressions in Contemporary Art, Virginia Beach, Va. (Etats-Unis), Virginia Beach Center for the Arts, 1995.
L'art au corps, Marseilles (France), Musées de Marseille, 1996.
Laying Low, Postminimalist-Scatter Art, Oslo (Norvège), Kunstnernes Hus, 1997.
‘Les enfants terrible’, il linguaggio dell'infanzia nell'Arte 1909-2004, Museo cantonale, Lugano (Suisse), 2004.
Lieux communs, figures singulières, Paris (France), Musée d'art moderne de la ville de Paris, 1991.
Life, Death, Love, Hate, Pleasure, Pain, Selected Works from the Museum of Contemporary Art, Chicago Collection, Ed. Eliabeth A.T. Smith, Chicago, Ill. (Etats-Unis), Museum of Contemporary Art, 2002.
L'Immagine Riflessa, Prato (Italie), Centro per l'arte contemporanea Luigi Pecci, 1995.
L'informe, le modernisme à rebours, Paris (France), Editions du Centre Pompidou, 1996.
Love Hotel, Canberra (Australie), National Gallery of Australia, 1997.
MACBA Collection, Barcelone (Espagne), Museu d’art contemporani, 2002.
Making It Real, Ridgefield, Conn. (Etats-Unis), Aldrich Museum of Contemporary Art, 1997.
Many Colored Objects Placed Side, Casino, 2000.
Mike Kelley, Memory Ware, Wood Grain, Carpet, Milan (Italie), Galleria Emi Fontana, 2004.
Mike Kelley, Braunschweig (Allemagne), Kunstverein Braunschweig, 1999.
Mike Kelley and Tony Oursler, ‘The Poetics Project, 1977-1997’, Tokyo (Japon), Watari Museum of Contemporary Art, 1997.
Mike Kelley, Land O'Lakes, Tokyo (Japon), Wako Works of Art, 1996.
Mike Kelley, the Thirteen Seasons Heavy on the Winter, Cologne (Allemagne), Jablonka Galerie, 1995.
Neue Welt, Francfort (Allemagne), Frankfurter Kunstverein, 2001.
Oh Boy, It's a Girl, Feminismen in der Kunst, Munich (Allemagne), Kunstverein, 1994.
Oh ! Cet Echo ! Paris (France), Centre Culturel Suisse, 1993.
Out of Actions, Between Performance and the Object, 1949-1979, Los Angeles, Calif. (Etats-Unis), Museum of Contemporary Art, 1997.
Out of Actions, Between Performance and the Object, 1949-1979, Tokyo (Japon), Museum of Contemporary Art, 1999.
Painting at the Edge of the World, Minneapolis, Minn. (Etats-Unis), Walker Art Center, 2001.
Prospect 89, Eine Internationale Ausstellung aktueller Kunst, Francfort (Allemagne), Kunstverein, 1989.
Radical Scavengers, the Conceptual Vernacular in Recent American Art, Chicago, Ill. (Etats-Unis), Museum of Contemporary Art, 1994.
Retorn al país del les meravelles, L’ art contemporani i la infància, Barcelone (Espagne), Fundació La Caixa, 2001.
Spectrum, Natural Settings, Washington, D.C. (Etats-Unis), Corcoran Gallery of Art, 1986.
Spirit of our Time, Santa Barbara, Calif. (Etats-Unis), Contemporary Arts Forum, 1990.
Sound, Los Angeles, Calif. (Etats-Unis), Los Angeles Institute for Contemporary Art ; Long Island City, N.Y. (Etats-Unis), P.S.1, Institute for Art and Urban Resources, 1979.
Stained Sheets, Holy Shroud, Santa Monica, Calif. (Etats-Unis), Krygier-Landau Contemporary Art, 1990.
Sunshine & Noir, Humlebaek (Danemark), Lousiana Museum of Modern Art, 1997.
Taschen Collection, Madrid (Espagne), Museo nacional Centro de arte Reina Sofía, 2004.
The Age of Modernism, Art in the 20th Century, Berlin (Allemagne), Martin-Grobius-Bau, 1997.
The Devil on the Stairs, Looking Back on the Eighties, Newport Beach, Calif. (Etats-Unis), Newport Harbor Art Museum, 1991.
The Disembodied Spirit, Brunswick, Me. (Etats-Unis), Bowdoin College Museum, 2003.
The Object Sculpture, Leeds (Royaume-Uni), Henry Moore Institute, 2002.
Thinking Print, Books To Billboards, 1980-95, New York (Etats-Unis), Museum of Modern Art, 1996.
Toyama Now '87, Toyama (Japon), Toyama Museum of Modern Art, 1987.
What is Contemporary Art ? Malmö (Suède), Rooseum, Center for Contemporary Art, 1989.
Whitney Biennial 2002, New York, Whitney Museum of American Art, 2002.
Word as Image, American Art 1960-1990, Milwaukee, Wis. (Etats-Unis), Milwaukee Art Museum, 1990.
ALIAGA Juan Vicente, CORRAL María de, CORTÉS José Miguel G., Micropolitics, Art and Everyday Life 2001-1968, Castelló (Espagne), Espai d’art contemporani, 2002.
AMMANN Jean-Christophe, SALTZ Jerry, Robert Gober, On Kawara, Mike Kelley, Martin Kippenberger, Jeff Koons, Albert Oehlen, Julian Schnabel, Cindy Sherman,Thomas Struth, Philip Taaffe, Christopher Wool, Cologne (Allemagne), Galerie Max Hetzler, 1992.
ANDERSON Maxwell, American Visionaries, Selections from the Whitney Museum of American Art, New York (Etats-Unis), Whitney Museum of American Art, 2002, p. 162.
ANDERSON Mikael [éd.], Display, International Exhibition of Painting, Copenhague (Danemark), Charlottenborg Exhibition Hall, 1997.
ARDEN Roy, WATSON Scott [éd.], Consolation Prize, Mike Kelley & John Miller, Vancouver, B.C. (Canada), Morris and Helen Belkin Artbition, New York (Etats-Unis), Whitney Museum of American Art, 1991.
ARMSTRONG Richard [et al.], 1985 Biennial Exhibition, New York (Etats-Unis), Whitney Museum of American Art, 1985.
BARRON Stephanie, BERNSTEIN Sheri, FORT Ilene Susan, Made in California, Art, Image, and Identity 1900-2000, Los Angeles, Calif. (Etats-Unis), Los Angeles County Museum of Art, Berkeley ; University of California Press, 2000.
BASUALDO Carlos [éd.], Das Americas, São Paulo (Brésil), Isabella Prata Consultoria de arte ; Galerie Luisa Strina, 1994.
BERNARD Christian [éd.], Le désenchantement du monde, Nice (France), Villa Arson, Centre national d'art contemporain, 1990.
BIESENBACH Klaus, HUBERMAN Anthony, SMITH Amy, Video Acts, Single Channel Works from the Collection of Pamela and Richard Kramlich and New Art Trust, Long Island City, N.Y. (Etats-Unis), P.S.1 Contemporary Art Center, 2002.
BRAND Jan [éd.], DE MUYNCK Catelejne, SMITH Valerie, Sonsbeek 93, Arnhem (Pays-Bas), International Art Exhibition Sonsbeek, 1993.
BREITWIESER Sabine, ANDERDON Lindsay [éd.], Educational Complex, Vienne (Autriche), Generali Foundation, 1997.
BROUGHEL Barbara, Poetic Resemblance, Buffalo, N.Y. (Etats-Unis), Hallwalls, 1986.
BROWN TURRELL Julia [éd.], Individuals, a Selected History of Contemporary Art, 1945-1986, Los Angeles, Calif. (Etats-Unis), Museum of Contemporary Art, 1986.
CAMERON Dan, El jardin salvaje, Madrid (Espagne), Fundacion Caja de Pensiones, 1991.
CAMERON Dan, Just What Is It That Makes Today's Homes So Different, So Appealing ? Glen Falls, N.Y. (Etats-Unis), Hyde Collection, 1991.
CARTER Curtis L., Dolls in Contemporary Art, A Metaphor of Personal Identity, Milwaukee, Wis. (Etats-Unis), Marquette University, 1993.
CLEARWATER Bonnie, Arrested Childhood, North Miami, Fla. (Etats-Unis), Center for Contemporary Art, 1994.
COLPITT Francis, PLOUS Phyllis, Knowledge, Aspects of Conceptual Art, Santa Barbara, Calif. (Etats-Unis), University of California, University Art Museum, 1992.
COOKE Lynne, FRANCIS Mark [éd.], The Carnegie International 1991, vol.1, Pittsburgh, Pa. (Etats-Unis), Carnegie Museum of Art, 1992.
COOKE Lynne, CURIGER Bice, HILTY Greg, Doubletake, Collective Memory and Current Art, Londres (Royaume-Uni), Hayward Gallery, 1992.
CRUTCHFIELD Jean, Presumed Innocence, Richmond, Va. (Etats-Unis), Anderson Gallery School of Fine Arts, 1997.
CRUZ Amada, Mike Kelley, Half a Man, Washington D.C. (Etats-Unis), Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1991.
CURIGER Bice, Zeichen & Wunder, Zurich (Suisse), Kunsthaus, 1995.
CURIGER Bice, Signos y Milagros, Saint-Jacques de Compostelle (Espagne), Centro galego de arte contemporánea, 1995.
DAMSCH-WIEHAGER Renata [éd.], Fort ! Da ! Cooperations, Stuttgart (Allemagne), Galerie der Stadt Esslingen, 1997.
DAVID Catherine, DABIN Véronique, Desorders, Nan Goldin, Mike Kelley, Kiki Smith, Jana Sterbak, Tunga, Paris (France), Galerie nationale du Jeu de Paume, 1992.
DECTER Joshua, Don't Look Now, New York (Etats-Unis), Thread Waxing Space, 1994.
DEITCH Jeffrey, CAMERON Dan, GINGERAS Alison M. [et al.], Monument to Now, the Dakis Joannou Collection, Athènes (Grèce), Deste Foundation for Contemporary Art, 2004.
DEITCH Jeffrey [éd.], Everything That's Interesting Is New, Athènes (Grèce), Deste Foundation for the Arts, 1996.
DEITCH Jeffrey, Post Human, Lausanne (Suisse), Musee d'art contemporain, 1992.
DELISS Clementine, Lotte or the Transformation of the Object, Graz (Autriche), Kunstverein, 1990.
DICKHOFF Wilfried [éd.], Ars Pro Domo, Zeitgenossische Kunst aus Kolner Privathesitz, Cologne (Allemagne), Museum Ludwig, 1992.
DOUROUX Xavier, GAUTHEROT Franck, TRONCY Eric, … Apr de Lyon, Lyon (France), 2003.
GOETZ Engvilg, URBASCHEK Stephen [éd.], Fast Forward Media Art Sammlung Goetz, Munich (Allemagne), I. Goetz G.m.b.H., 2003.
GOLDSTEIN Ann, JACOB Mary Jane, SINGERMAN Howard, A Forest of Signs, Art in the Crisis of Representation, Los Angeles, Calif. (Etats-Unis), Museum of Contemporary Art, 1989.
GROSENICK Uta, RIEMSCHNEIDER Burkhard, Art Now, Cologne (Allemagne) Taschen, 2001.
EBERSMAN Vivian, EBERSMAN Justin, Contemporary Drawings, In Search of an Image, Santa Barbara, Calif. (Etats-Unis), University Art Museum, University of California, 1981.
ELKMEYER Robert [éd.], Face-off, Im Körper des Feindes… Francfort (Allemagne), Revolver Archiv Für Aktuelle Kunst, Kunstlauf & Revolver, 2004.
FAIRBROTHER Trevor, JOSELIT David, SUSSMAN Elisabeth, BiNational, American Art of the Late 80s-German Art in the Late Eighties, Boston, Mass. (Etats-Unis), Institute of Contemporary Art and Museum of Fine Arts, 1988.
FEINSTEIN Roni [éd.], Contemporary Diptychs, Divided Visions, Stamford, Conn. (Etats-Unis), Whitney Museum of American Art at Fairfield County, 1987.
FELIX Zdenek, Home Sweet Home, Hambourg (Allemagne), Diechtorhallen, 1997.
FOX Howard N., Avant-Garde in the Eighties, Los Angeles, Calif. (Etats-Unis), Los Angeles County Museum of Art, 1987.
FRIIS-HANSEN Dana [et al.], L.A. Hot and Cool, the Eighties, Cambridge, Mass. (Etats-Unis), List Center for the Visual Arts, 1987.
GUDIS Catherine, Helter Skelter, L.A. Art in the 1990s, Los Angeles, Calif. (Etats-Unis), Museum of Contemporary Art, 1992.
HIGGS Matthew, KILLIAN Kevin, ROBBINS David, Likeness, Portraits of Artists by Other Artists, New York (Etats-Unis), Independent Curators International, 2004.
IZQUIERDO BRICHS Victoria, Falsa Innocencia = Falsa Inocencia = False Innocence, Barcelone (Espagne), Fundació Joan Miró, 2003
JOACHAMIDES Christos M., ROSENTHAL Norman, Metropolis, International Art Exhibition Berlin 1991, Berlin (Allemagne), Martin-Gropius-Bau, 1991.
KELLEIN Thomas, Mike Kelley, Bâle (Suisse), Kunsthalle, 1992.
KELLEY Mike, WELCHMAN John, GRUNENBERG Christoph, The Uncanny by Mike Kelley, Liverpool (Royaume-Uni), Tate Liverpool ; Vienne (Autriche), Museum Moderner Kunst Stiftung Ludwig, 2004.
KNIGHT Christopher, Mike Kelley, Cologne (Allemagne), Jablonka Galerie, 1989.
KURTZ Bruce D., 1987 Phoenix Biennial, Phoenix, Ariz. (Etats-Unis), Phoenix Art Museum, 1987.
LANDAUER Susan, GERDTS William H., TRENTON Patricia, The Not-So-Still-Life, Los Angeles, Calif. (Etats-Unis), University of California Press, 2003.
LEBRERO STALS José [éd.], Mike Kelley 1985-1996, Barcelone (Espagne), Museu d'art contemporani, 1997.
LEVEN Ulrike, JARRETORP Jaana [éd.], Rooseum 1988-1998, Malmö (Suède), Rooseum, Center for Contemporary Art, 1998.
LIDA Takayo, Art at Home, Ideal Standard Life, Tokyo (Japon), Spiral Garden, 1997.
LOISY Jean de [éd.], Hors limites, l'art et la vie 1952-1994, Editions du Centre Pompidou, 1994.
LORD Catherine [et al.], Cal Arts, Skeptical Beliefs. Chicago, Ill. (Etats-Unis), Renaissance Society at the University of Chicago, Newport Beach, Calif. (Etats-Unis), Newport Harbor Art Museum, 1987.
MARTIN Thimothy, ARHENS Carsten, HAENLEIN Carl, Mike Kelley Missing Time Works on Paper 1974-76 Reconsidered, Hanovre (Allemagne), Kestner-Gessellschaft, 1995 ; Documents sur l'art, automne 1997, p. 138-141.
MARTIN Timothy, Paul McCarthy Paul and Mike Kelley,’Heidi’, Midlife Crisis Trauma Center and Negative Medida-Engram Abreaction Release Zone, Vienne (Autriche), Galerie Krinzinger, 1992.
MARTIN Timothy, Headhunters, Los Angeles, Calif. (Etats-Unis), Los Angeles Contemporary Exhibitions, 1986.
MARTIN Timothy, WEISSMAN Benjamiport Beach, Calif. (Etats-Unis), Newport Harbor Art Museum, 1984.
MORGAN Robert C., Action-Performance and the Photograph, Los Angeles, Ill. (Etats-Unis), Turner-Krull Galleries, 1993.
NACHTIGALLER Roland, VELSEN Nicola von [éd.], Documenta 9, Stuttgart (Allemagne), Cantz ; New York (Etats-Unis), H. N. Abrams, 1992.
NILSON Bo, LEBRERO STALS José [éd.], Mike Kelley, Malmö (Suède), Rooseum Center for Contemporary Art, 1997.
PATRIZIO Andrew, Networking, Art by Post and Fax, Londres (Royaume-Uni), Hayward Gallery, 1997.
PETERSEN Vibeke, TORP OCKENHOLT Marianne, American Film & Video, Whitney Biennial, Electronic Undercurrents, Copenhagen (Danemark), Statens Museum for Kunst, 1996.
PHILBRICK Jane, Abject Art, Repulsion and Desire in American Art, New York (Etats-Unis), Whitney Independent Study Program, 1995.
PHIBRICK Jane, The Return of the Cadavre Exquis, New York (Etats-Unis), Drawing Center, 1993.
PICHLER Cathrin [éd.], Expanded Art 2, Vienne (Autriche), Wiener Fest Wochen, 1992.
POHLEN Annie, Uber Leben, Bonn (Allemagne), Kunstverein, 1994.
RIFKIN Ned, Natural Settings, Washington D.C. (Etats-Unis), Corcoran Gallery of Art, 1986.
ROSS David A., TSAI Eugenie, Art at the End of the 20th Century, New York (Etats-Unis), Whitney Museum of American Art, 1997.
RUBIN Davis, It's Only Rock and Roll, Rock and Roll Currents in Contemporary Art, Cincinnati, Ohio (Etats-Unis), Contemporary Arts Center, 1996.
RUGOFF Ralph, Transformers, The Art of Multiphrenia, New York (Etats-Unis), Independent Curators Incorporated ; Annandale-on-Hudson, N.Y. (Etats-Unis), Center for Cultural Studies, 1995.
RUGOFF Ralph, Presenting Rearwards, Los Angeles, Calif. (Etats-Unis), Rosamund Felsen Gallery, 1991.
RUGOFF Ralph, Just Pathetic, Los Angeles, Calif. (Etats-Unis), Rosamund Felsen Gallery, 1990.
SCHLEBRÜGGE Johannes [éd.], Mike Kelley, Franz West, Bruxelles (Belgique), One Two Three, 2001.
SCHNEIDER Chriastiane, Animals, Londres (Royaume-Uni), Haunch of Venison Gallery, 2004.
SCHUMACHER Rainald, WINZEN Matthias, Just Love Me, Post-Feminist Positions of the 1990s from the Goetz Collection, Cologne (Allemagne), W. König, 2003.
SINGERMAN Howard, MILLER John, Mike Kelley, Three Projects, Half a Man, From My Institution to Yours, Pay for Your Pleasure, Chicago, Ill. (Etats-Unis), Renaissance Society at the University of Chicago, 1988.
SMOLIK NOEMI, SCHUMACHER Rainald, American Art from the Goetz Collection, Munich, Prague (République Tchèque), Galerie Rudolfinum, 2001.
SPAID Sue, TAGGART Nick, Heart in Mouth, Los Angeles, Calif. (Etats-Unis), Fahey-Klein Gallery, 1990.
SPECTOR Nancy [éd.], Guggenheim Museum Collection A to Z, New York (Etats-Unis), Guggenheim Museum, 2001.
STARR Sandra, Lost and Found in California, Four Decades of Assemblage Art. The Second Generation, the Narrative 1957-1987, Los Angeles, Calif. (Etats-Unis), Corcoran Gallery, 1988.
STORR Robert, Disparities & Deformations, Our Grotesque, Santa Fe, N.M. (Etats-Unis),
STUART Morgan [éd.], Fifth Biennale of Sydney, Private Symbol, Social Metaphor, Sydney (Australie), Art Gallery of New South Wales, 1984.
SUSSMAN Elizabeth [éd.], Mike Kelley, Catholic Tastes, New York (Etats-Unis), Whitney Museum of American Art ; H. M. Abrams, 1993.
VAN ASSCHE Christine [dir.], Sonic Process, une nouvelle géographie des sons, Paris, Editions du Centre Pompidou, 2002.
VARNEDOE Kirk, ANTONELLI Paola, SIEGEL Joshua, Modern Contemporary, Art at MoMA since 1980, New York (Etats-Unis), Museum of Modern Art, 2000.
WALTHER Ingo F. [éd.], Art of the 20th Century, Volume II Anthology, Cologne (Allemagne) ; New York (Etats-Unis) ; Londres (Royaume-Uni), Lisbonne (Portugal) ; Tokyo (Japon), , Essays on Art in the 1990s, Amsterdam (Pays-Bas), G+B Arts International, 2001.
VIDLER Anthony, WALLEN Peter, Scene of the Crime, Los Angeles, Calif. (Etats-Unis), Hammer Museum, 1997.
YAU John [éd.], Murder, Santa Monica, Calif. (Etats-Unis), Bergamot Station Arts Center, 1995.
ZACHAROPOULOS Denys, Domain, Bignan (France), Le Domain de Kerguehennec, Centre d'art, 1993.


Articles et essais (sélection)

Art since 1940, Strategies of Being. Johnathan Fineberg, Englewood Cliffs, N.J. (Etats-Unis), Prentice Hall, 2000, p. 482-483.
Artist Statement and ‘Intervention’ for Radical Scavengers, the Conceptual Vernacular in
Recent American, Chicago, Ill. (Etats-Unis), Museum of Contemporary Art, 1994.
“A Domestic Scene”, Kim’s Bedroom, Paris (France), Purple Books, 2000.
“Alma Pater”, Mike Kelley, Peter Fischli and David Weiss, Munich (Allemagne), Sammlung Goetz ; Lenbachhaus, 2000.
“An Academic Cut-Up, in Easily Digestible Paragraph-Sized Chunks or the New King of Pop, dr. Konstantin Raudive”, Sonic Process, Paris (France), Éditions du Centre Pompidou, 2002.
“An Endless Script, Dialogue Between Tony Oursler and Mike Kelley”, Mike Kelley, Williamstown, Mass. (Etats-Unis), Williamstown College, 1999.
“Artist-Critic”, When Down is Up Ausgewählte Schriften 1987-1999, Francfort ; Stuttgart (Allemagne), Revolver Archiv für aktuelle kunst, 2001.
“Cross Gender-Cross Genre, Just Love Me”, Post-Feminist Positions of the 1990s from the Goetz Collection, Cologne (Allemagne), W. König, 2002, p. 84-99.
Cross Gender = Cross Genre”, Performing Arts Journal, vol. 22, n. 1, janvier 2000, p. 1-9.
“David Askevold, the California Years”, David Askevold, Cultural Geographies and Other Works, Charlottetown, P.E.I. (Canada), British Columbia Confederation Centre Art Gallery and Museum, 1998.
"Death and Transfiguration, A Letter From America", Paul Thek, Rivoli (Italie), Castello di Rivoli, p. 15-20 ; Texte zur Kunst, décembre 1992, p. 43-49.
“Dyspeptic Universe, Cody Hyun Choi’s Pepto-Bismal Paintings”, Farewell to the 20th Century, Cody Choi, Kukje Gallery & Deitch Projects, New York, 1998.
“Familien-Analyse, Interview with Mike Kelley and Paul McCarthy”, Schaufenster, n. 18, septembre 1998, p. 6-7.
“Mike Kelley,” Francis Picabia, Paris (France), Musée d’art moderne de la Ville de Paris, 2002.
"Mike Kelley, Repressed Architectural Memory Replaced by Psychic Reality", Architecture, n. 15, 1996, p. 36-39 ; De Witte Raaf, vol. 96 mars-avril 2002, p. 9.
"Mike Kelley, from Timeless-Authorless …”, Whitewalls, A Journal of Language and Art, n. 38, 1996.
“Myth Science”, Öyvind Fahlström, The Complete Graphics, Multiples, and Sound Works, Vienne (Autriche), BAWAG Foundation, 2001.
“Phobic”, Tony Oursler, White Trash and Phobic, Genève (Suisse), Centre d’art contemporain ; Berlin (Allemagne), Kunst Werk, 1993.
"See you at the Velvet Goldmine, Richard Prince Meets Mike Kelley", Dazed and Confused, janvier 1999, p. 116-121.
"Shall We Kill Daddy ?", Origin and Destination, Alighiero e Boetti, Douglas Huebler, Bruxelles (Belgique), Société des Expositions des beaux-arts, 1997, p. 155-171 ; Striking Distance C31 Magazine, décembre 1996-janvier 1997.
“The Greatest Tragedy of President Clinton’s Administration”, Let’ s Entertain, Minneapolis Minn. (Etats-Unis), Walker Art Museum ; Musée national d’art moderne, Centre Georges Pompidou, Paris, 2000 ; Mike Kelley at Patrick Painter, Santa Monica, Calif. (Etats-Unis), Patrick Painter, 1999.
“Ufology, Aesthetics of UFO’s 1997-2002”, Blastitude, n. 13 août 2002.
“We Communicate Only Through Our Shared Dismissal of the Prelinguist. 18-19 ; Wrong, The Journal of Highly Speculative Ideas / éd. par Brian McCormick, Pasadena, Calif. (Etats-Unis), Art Center College of Design, 1999.
ANTOINE Jean-Philippe, “Basket nocturne a dos d’âne”, Les Cahiers du Musee national d’art moderne, Paris (France) Editions du Centre Pompidou, n. 73, automne 2000, p. 102-123.
BAILLY Bérénice, DAGEN Philippe, « Les références multiples de Keley », Le Monde, 18 juin 2006.
BAILLY Bérénice, « Mike Kelley, plasticien, ‘Sans l’art, j’aurais pu être une bête sauvage’ », Le Monde, 18 juin 2006.
BLOCH Ricardo, CELENDER Dan [éd.], "Mortal Remains", Intermedia Arts, 1995.
CLARK Larry, « Youth Is Pleasure », Flash Art, mai-juin 1992, p. 82-86.
COOPER Dennis, “Trauma Club”, Artforum, octobre 2000, p. 126-129.
DECTER Joshua, "Stephen Prina and Mike Kelley", A/drift, Annandale on Hudson, N.Y. (Etats-Unis), Bard College, 1997, p. 47-55.
EIKMEYER Robert, „Destroy all Monsters, Face-Off”, Köper des Feindes, Francfort (Allemagne), Revolver Archiv für aktuelle Kunst, 2004, p. 63-69.
EKERBERG Jonas, „En Slags Perversion“, Hyperfoto, n. 3-4, 1996, p. 36-41.
GHOLSON Craig, “Mike Kelley”, Bomb, hiver 1988.
HAINLEY Bruce, WATERS John, “Nine Sex Questions”, Art-A Sex Book, Londres (Royaume-Uni), Thames & Hudson, 2003, p. 43, 54,191-192.
HALL Alexis, SULLIVAN Catherine, WEISSMAN Benjamin [éd.], “Timeless-Authorless”, Asteroid Impaired, Righteous American Fiction, vol. 1 Fiction Journal, Pasadena, Calif. (Etats-Unis), Art Center College of Design, 1997.
HOFLEITER Johanna, "Familien Analyse", Die Presse Schaufenster, 18 Septembre 1998, p. 6-7.
KOETHER Jutta, Journal of Contemporary Art, été 1994, p. 7-24.
KREMER Mark, “Mike Kelley, A Fucked-Up Mirror of Dominant Image Making”, Art pres, n. 183, septembre 1993, p. E5-E8.
KRIESCHE Richard [éd.], “Brain Work”, Artificial Intelligence in the Arts, nr. 1, Graz (Autriche), Steirischer Herbst, 1985.
LOTRINGER Sylvere [éd.], “Hollywood Filmic Language, Stuttered Caltiki the Immortal “Monster and Rose Hobart”, More and Less, Pasadena, Calif. (Etats-Unis), Art Center College of Design, 1999.
LÜTTICKEN Sven, “De infantiliseringscultuur”, De Witte Raaf, n. 96, mars-avril 2002, p. 9.
MILLER John, “Go West”, Parallel Economies, Grenoble (France), Magasin, Centre d’art contemporain, 1999.
WELCHMAN John C.[éd.], Foul Perfection, Essays and Criticism, Cambridge, Mass. (Etats-Unis), MIT Press, 2003.


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