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ed kienholz, nancy reddin kienhol portrait

 

Ed Kienholz

1927 Born in Fairfield, Washington
1994 Died in Hope, Idaho
1953-73 Resident of Los Angeles

Nancy Reddin Kienholz

1943 Born in Los Angeles, California
Lives and works in Hope, Idaho; Houston, Texas and Berlin, Germany

full biography

   
Current L.A. Louver exhibition

Ed and Nancy Kienholz: Berlin/Hope
13 March - 26 April 2014
 
     

Selected L.A. Louver exhibitions

Kienholz Before LACMA
In collaboration with Maurice Tuchman
24 January - 3 March 2012

Nancy Reddin Kienholz
5 September - 4 October 2008

    → view all past L.A. Louver exhibitions

Selected museum exhibitions

Lifelike
includes: Edward and Nancy Reddin Kienholz
Walker Art Center
Minneapolis, MN
25 February 2012 - 27 May 2012

New Orleans Museum of Art
New Orleans, LA
10 November 2012 - 27 January 2013

Museum of Contemporary Art
San Diego, CA
24 February - 26 May 2013

Blanton Museum of Art
University of Texas at Austin
Austin, TX
23 June - 22 September 2013

The Small Utopia. Ars multiplicata
Fondazione Prada, Ca' Corner della Regina
Venice, Italy
29 June - 25 November 2012

     

The Small Utopia. Ars multiplicata
Fondazione Prada, Ca' Corner della Regina
Venice, Italy
29 June - 25 November 2012

 

Edward Kienholz,
Five Car Stud 1969 – 1972, Revisited

Louisiana Museum
Humlebaek, Denmark
6 June - 21 October 2012
traveled from:
Los Angeles County Museum of Art (LACMA)
Los Angeles, CA
04 September 2011 - 15 January 2012

     

Kienholz. The Signs of the Times
Schirn Kunsthalle
Frankfurt, Germany
22 October 2011 - 29 January 2012
Travelled to:
Museum Tinguely
Basel, Switzerland
21 February - 13 May 2012

 

Kienholz
BALTIC Centre for Contemporary Art
Museum of Contemporary Art, Sydney

    → view all past museum exhibitions

Publications


Tableau Drawings
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Kienholz: Berlin | Hope
L.A. Louver, Venice, CA
13 March - 26 April 2014
Introduction by Peter Goulds

Text by David Anfam, Tom Preiss, Rich Post, and
Nancy Reddin Kienholz
Color illustrations, 52 pages


Tableau Drawings
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Kienholz Before LACMA
L.A. Louver, Venice, CA
24 January - 3 March 2012
Foreward by Peter Goulds, and text by Maurice Tuchman

40 pages, 28 color reproductions
Softback
     

KIENHOLZ-THE-SIGNS-OF-THE-TIMES
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KIENHOLZ. THE SIGNS OF THE TIMES
German-English edition
248 pages, about 80 color and 66 black-and-white illustrations
by Walther König Verlag GmbH, 2011
 
KIENHOLZ-THE-SIGNS-OF-THE-TIMES
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Kienholz / Five Car Stud
Hardbound
128 pages, 10-1/2 x 10-3/4 inches
Richly illustrated
2011
     

The Hoerengracht: Kienholz at the National Gallery
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Tableau Drawings
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Ed and Nancy Reddin Kienholz: Tableau Drawings
1 March - 31 March 2001
L.A. Louver, Venice, CA
Essay by Marco Livingston, text and historical chronology by Nancy Reddin Kienholz
146 pages, 119 black and white illustrations, 37 color illustrations
Softback
     

Kienholz: A Retrospective
spacer Kienholz: A Retrospective
Whitney Museum of American Art, New York, NY
in association with D.A.P./Distributed Art Publishers
29 February - 2 June 1996
Museum of Contemporary Art, Los Angeles, CA
30 June - 3 November 1996
Berlinische Galerie, Berlin, Germany
14 February – 20 April 1997
Foreword by David A. Ross, text by Rosetta Brooks, Monte Factor, Jürgen Harten, Richard Jackson, Nancy Reddin Kienholz, Alberta Mayo, Thomas McEvilley and Marcus Raskin
300 pages, 158 color illustrations
Softcover
 
hockney catalogue, east yorkshire landscape
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The Merry-Go-World or Begat By Chance and The Wonder Horse Trigger
L.A. Louver, Venice, CA
26 September - 24 October 1992
Foreword by Peter Goulds, text by Ed Kienholz
68 pages, 61 black and white, 30 color illustrations
Softback, out of print

     

Ed and Nancy Reddin Kienholz: Kienholz
spacer Ed and Nancy Reddin Kienholz: Kienholz
Louver Gallery, New York, NY
28 October 1989 - 25 November 1989
Introduction by Sean Kelly, text by Walter Hopps
64 pages, 19 color illustrations
Softback
   
     
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Works available
 
Ed Kienholz 1954 - 1971 >>

Ed and Nancy Kienholz 1972 - 1994

Nancy Reddin Kienholz 1994 - the present

 

Ed Kienholz - Untitled (abstract) Ed Kienholz - Untitled (abstract) Ed Kienholz - Untitled (wood relief) Ed Kienholz - American Girl Ed Kienholz - American Girl Ed Kienholz - American Girl Edward & Nancy Reddin Kienholz<br>
The Kitchen Table (transitional version), 1975-77<br>
mixed media and bronze<br>
41 1/2 x 67 x 21 1/4 in. (105.4 x 170.2 x 54 cm) Edward & Nancy Reddin Kienholz<br>
The Kitchen Table (transitional version), 1975-77<br>
mixed media and bronze<br>
41 1/2 x 67 x 21 1/4 in. (105.4 x 170.2 x 54 cm) Ed Kienholz - Lolli Pop Goes the Weasel Ed Kienholz - American Girl Ed Kienholz - American Girl Ed Kienholz - Mother Sterling Revisited Ed Kienholz - The Blink, Blink Frog Edward Kienholz<br>
The God Box #1, 1963<
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm) Edward Kienholz<br>
The God Box #2, 1963<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm) Edward Kienholz<br>
The God Box #3, 1963<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm) Edward Kienholz<br>
The World, 1964<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm)          Edward Kienholz<br>
Mayor Sam Edsel, 1965<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm) Edward Kienholz<br>
After the Ball is Over #1, 1965<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm)          Edward Kienholz<br>
The American Trip, 1966<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm)          Edward Kienholz<br>
The Black Leather Chair, 1966<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm)          Edward Kienholz<br>
The Cement Store #1, 1967<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm)          Edward Kienholz<br>
The Cement Store #2, 1967<br>
concept tableau<br>
plaque: 9 1/4 x 11 3/4 in (23.5 x 29.8 cm)<br>
framed concept: 13 3/8 x 9 1/4 in (33.7 x 23.5 cm)          Ed Kienholz - The Portable War Memorial Ed Kienholz - H.I.D. #1
 
Untitled
 
 
Untitled (wood relief)
 
 
Untitled
 
 
Black With White
 
 
Exodus
 
 
Untitled
 
 
Dwight D. Nutt
 
 
A Gift for a Baby
 
 
Lolli Pop Goes the Weasel
 
 
America My Hometown
 
 
The Sky is Falling:
Act One
 
  
Mother Sterling Revisited
 
 
The Blink, Blink Frog
 
 
The God Box #1
 
 
The God Box #2
 
 
The God Box #3
 
 
The World
 
 
Mayor Sam Edsel
 
 
After the Ball is Over #1
 
 
The American Trip
 
 
The Black Leather Chair
 
 
The Cement Store #1
 
 
The Cement Store #2
 
 
The Portable War Memorial
 
 
H.I.D. #1
 
                                                   
Concept Tableaux, 1963 - 1967 >>

“The life-size tableau, the form of art making that Kienholz chose to explore, was time-consuming, costly, and exhausting to produce. So by 1966, after his successful, if controversial, exhibition at the Los Angeles County Museum of Art, he was employing a more cost-effective strategy, in theory.

In many ways the Concept Tableaux demonstrated sound business sense. Kienholz would draw up, and have prospective buyers sign, a contract for every tableau. Each work would be divided into three quite distinct and separate steps. For a set amount of money, interested buyers would be able to purchase only the proposal – a plaque with a detailed description of the work, signed by the artist. In the next step, if the buyer proceeded, the tableau would be realized in the form of a drawing for an additional sum of money. The third part of the contract would be the completion of the tableau. The buyer would be charged only for hourly wages and materials incurred by the artist.”

Quote by Rosetta Brooks taken from “Kienholz: A Retrospective.” Whitney Museum of American Art in association with D.A.P./Distributed Art Publisher, New York, 1996, p. 110.