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 Bouquet
|
|
Tip Toe Widow
|
|
The Returning
|
|
Somewhere a Different Drummer
|
|
The Rhinestone Beaver Peep Show Triptych
|
|
The Bronze Pinball Machine with Woman Affixed Also
|
|
Drawing for Still Live
|
|
Still Dead
End Dead No. I
|
|
Still Dead End Dead II
|
|
The Cost
|
|
Berlin Volksempfanger
|
|
To Mourn a Dead Horse
|
|
Trade Watercolors
|
|
Soldier X
|
|
The Pool Hall
|
|
Ilse's Home
|
|
Logger Landscape
|
|
The Golden Guile
|
|
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. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Watercolors
“With the Watercolors Kiehholz contrived a system of currency, as he termed it, whereby the work was sold for the amount hand painted on the framed sheet of paper or bartered for the items small and large stenciled on the sheet. The Watercolors were a grand spoof on the value of the artist’s name in the marketplace; all the buyer actually received was a sheet of paper good for the amount or item Kienholz painted on it, simply because he and the artist agreed it should be so.”
Quote by Robert L. Pincus taken from “On a Scale that Competes with the World: the Art of Edward and Nancy Reddin Kienholz.” University of California Press, Berkeley, 1990, p. 56.
Please note: The trade watercolors depicted above are representative images only. The actual works in the exhibition include the following, dated 1990: For $487, For $489, For $490, For $491, For $492, For $493, For $494, For $495, For $496, For $528, For $529, For $530, For $531, For $532, For $533, For $534, For $535, For $536, For $537, and For $538. |
|
|
|
|
|
|
|
|
|
|
|
