1960s
A01=Cary Levine
abject art
acceptable behavior
aesthetics
Age Group_Uncategorized
Age Group_Uncategorized
artists
Author_Cary Levine
automatic-update
bad boys
Category1=Non-Fiction
Category=ACXJ
Category=AGA
Category=AGB
celebrity
collaboration
conservatism
COP=United States
copulation
counterculture
Delivery_Delivery within 10-20 working days
detroit
disgust
economics
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
fame
feces
fornication
gag reflex
gender
Language_English
los angeles
mike kelley
music
nonfiction
nostalgia
notoriety
PA=Available
paul mccarthy
perversity
pleasure
poor taste
Price_€20 to €50
PS=Active
raymond pettibon
reagan
sculptures
sex
sexuality
softlaunch
southern california
stuffed animals
subculture
transgression
underground
university of utah
unseemly
white panthers
Product details
- ISBN 9780226026060
- Weight: 1049g
- Dimensions: 22 x 28mm
- Publication Date: 11 Jun 2013
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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Mike Kelley, Paul McCarthy, and Raymond Pettibon - these Southern California artists formed a "bad boy" trifecta. Early purveyors of abject art, the trio produced work ranging from sculptures of feces to copulating stuffed animals, and gained notoriety from being perverse. Showing how their work rethinks transgressive art practices in the wake of the 1960s, "Pay for Your Pleasures" argues that their collaborations as well as their individual enterprises make them among the most compelling artists in the Los Angeles area in recent years. Cary Levine focuses on Kelley's, McCarthy's, and Pettibon's work from the 1970s through the 1990s, plotting the circuitous routes they took in their artistic development. Drawing on extensive interviews with each artist, he identifies the diverse forces that had a crucial bearing on their development - such as McCarthy's experiences at the University of Utah, Kelley's interest in the Detroit-based White Panther movement, Pettibon's study of economics, and how all three participated in burgeoning subcultural music scenes.
Levine discovers a common political strategy underlying their art that critiques both nostalgia for the 1960s counterculture and Reagan-era conservatism. He shows how this strategy led each artist to create strange and unseemly images that test the limits of not only art but also gender roles, sex, acceptable behavior, poor taste, and even the gag reflex that separates pleasure from disgust. As a result, their work places viewers in uncomfortable situations that challenge them to reassess their own values. The first substantial analysis of Kelley, McCarthy, and Pettibon, "Pay for Your Pleasures" shines new light on three artists whose work continues to resonate in the world of art and politics.
Cary Levine is assistant professor of contemporary art history at the University of North Carolina at Chapel Hill.
