{"version":"1.0","provider_name":"L.A. Louver - Journal","provider_url":"https:\/\/www.lalouver.com\/journal","author_name":"L.A. Louver","author_url":"https:\/\/www.lalouver.com\/journal\/author\/50percentopacity","title":"Kienholz does not tend to sublimate the lowness and tragedy of life - L.A. Louver - Journal","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"sycwmF2kQ8\"><a href=\"https:\/\/www.lalouver.com\/journal\/kienholz-does-not-tend-to-sublimate-the-lowness\">Kienholz does not tend to sublimate the lowness and tragedy of life<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.lalouver.com\/journal\/kienholz-does-not-tend-to-sublimate-the-lowness\/embed#?secret=sycwmF2kQ8\" width=\"600\" height=\"338\" title=\"&#8220;Kienholz does not tend to sublimate the lowness and tragedy of life&#8221; &#8212; L.A. Louver - Journal\" data-secret=\"sycwmF2kQ8\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.lalouver.com\/journal\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko4_1280.jpg","thumbnail_width":1280,"thumbnail_height":664,"description":"\u201cKienholz does not tend to sublimate the lowness and tragedy of life, the conditions of solitude and triviality, but rather uses them as tools that can highlight the low, popular universe, a place where the emaciated and filthy, the perverse and lurid, represent a new, surprising beauty.\u201d-Germano Celant, Five Car Stud Curator at Fondazione Prada [&hellip;]"}