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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
Recent
exhibitions
SoCal:
Southern California Art of the 1960s and 70s from LACMA’s
Collection
Los Angeles County Museum of Art
Los Angeles, CA
19 August - 30 March 2007
Hammer Building
Los Angeles County Museum of Art
Los Angeles, CA
www.lacma.org
Los Angeles-Paris: 1955-1985
Centre Pompidou
Paris France
8
March - 17 July 2006
www.centrepompidou.fr
(catalogue)
Kienholz
BALTIC Centre for Contemporary Art
14 May - 29 August 2005
www.balticmill.com
Museum of Contemporary Art, Sydney
16 December 2005 - 5 March 2006
www.mca.com.au
Publications
Kienholz: A Retrospective
Walter Hopps
Whitney Museum of American Art
New York, NY, 1996
Tableau Drawings
1 March - 31 March 2001
L.A. Louver, Venice, CA
The Merry-Go-World or Begat By Chance and The Wonder Horse Trigger
L.A. Louver, Venice, CA
26 September - 24 October 1992
Kienholz
Louver Gallery, New York, NY
7 October - 11 November 1989
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Edward Kienholz
The Portable War Memorial, 1968
mixed media assemblage
22 1/4 x 33 1/8 x 3 in. |
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Untitled (abstract)
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Untitled (wood relief)
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Exodus
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Yes, Jesus Loves Me
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The Purple Box
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American Girl
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Flow Gently, Sweet Often
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Lolli Pop Goes the Weasel
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Mother Sterling Revisited
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The Sky is Falling: Act One
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The Blink, Blink Frog
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The God Box #1
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The God Box #2
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The God Box #3
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The World
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Mayor Sam Edsel
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After the Ball is Over #1
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The American Trip
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The Black Leather Chair
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The Cement Store #1
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The Cement Store #2
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The Portable War Memorial
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For a Fur Coat
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Untitled
(drawing for the Marriage Icon series)
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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. |
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