{"id":232,"date":"2016-12-20T01:30:40","date_gmt":"2016-12-20T01:30:40","guid":{"rendered":"https:\/\/www.lalouver.com\/journal\/index.php\/2016\/12\/20\/kienholz-does-not-tend-to-sublimate-the-lowness\/"},"modified":"2025-08-28T20:32:18","modified_gmt":"2025-08-28T20:32:18","slug":"kienholz-does-not-tend-to-sublimate-the-lowness","status":"publish","type":"post","link":"https:\/\/www.lalouver.com\/journal\/kienholz-does-not-tend-to-sublimate-the-lowness","title":{"rendered":"Kienholz does not tend to sublimate the lowness and tragedy of life"},"content":{"rendered":"\n<figure class=\"wp-block-gallery has-nested-images columns-3 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d2a77e8e90e&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d2a77e8e90e\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"592\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"233\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko1_1280-1024x592.jpg\" alt=\"\" class=\"wp-image-233\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko1_1280-1024x592.jpg 1024w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko1_1280-300x174.jpg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko1_1280-768x444.jpg 768w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko1_1280.jpg 1084w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n\n\n\n<figure data-wp-context=\"{&quot;imageId&quot;:&quot;69d2a77e8f0d4&quot;}\" data-wp-interactive=\"core\/image\" data-wp-key=\"69d2a77e8f0d4\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"531\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"234\" src=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko4_1280-1024x531.jpg\" alt=\"\" class=\"wp-image-234\" srcset=\"https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko4_1280-1024x531.jpg 1024w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko4_1280-300x156.jpg 300w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko4_1280-768x398.jpg 768w, https:\/\/www.lalouver.com\/journal\/wp-content\/uploads\/2016\/12\/tumblr_oigmv4aeHj1r7s5hko4_1280.jpg 1280w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><button\n\t\t\tclass=\"lightbox-trigger\"\n\t\t\ttype=\"button\"\n\t\t\taria-haspopup=\"dialog\"\n\t\t\taria-label=\"Enlarge\"\n\t\t\tdata-wp-init=\"callbacks.initTriggerButton\"\n\t\t\tdata-wp-on--click=\"actions.showLightbox\"\n\t\t\tdata-wp-style--right=\"state.imageButtonRight\"\n\t\t\tdata-wp-style--top=\"state.imageButtonTop\"\n\t\t>\n\t\t\t<svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"12\" height=\"12\" fill=\"none\" viewBox=\"0 0 12 12\">\n\t\t\t\t<path fill=\"#fff\" d=\"M2 0a2 2 0 0 0-2 2v2h1.5V2a.5.5 0 0 1 .5-.5h2V0H2Zm2 10.5H2a.5.5 0 0 1-.5-.5V8H0v2a2 2 0 0 0 2 2h2v-1.5ZM8 12v-1.5h2a.5.5 0 0 0 .5-.5V8H12v2a2 2 0 0 1-2 2H8Zm2-12a2 2 0 0 1 2 2v2h-1.5V2a.5.5 0 0 0-.5-.5H8V0h2Z\" \/>\n\t\t\t<\/svg>\n\t\t<\/button><\/figure>\n<\/figure>\n\n\n\n<p>\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<br>-Germano Celant, <i>Five Car Stud <\/i>Curator at Fondazione Prada<\/p>\n\n\n\n<p>The rarely exhibited Kienholz environment \u201cFive Car Stud\u201d and 25 other works by this provocative and innovative couple are currently on display at Milan\u2019s Fondazione Prada. Simply titled <a href=\"http:\/\/lalouver.com\/exhibition.cfm?tExhibition_id=1210\"><i>Five<br>Car Stud<\/i><\/a>, the show highlights the extensive careers of Edward Kienholz and his wife Nancy Reddin Kienholz as they tackled significant topics of war, child abuse, women\u2019s rights and the media.<\/p>\n\n\n\n<p>Washington state native and founder of Los Angeles\u2019 Ferus Gallery, Edward Kienholz (1927-1994) started exhibiting his assembled sculptures in 1961 with his first museum show at the Pasadena Art Museum. His work was also displayed among that of Picasso, Schwitters, Duchamp and Cornell<br>in the famed MoMA exhibition <i>The Art of Assemblage<\/i> that same year. European critics, such as Swedish curator Pontus Hulten, soon began to take notice of Kienholz\u2019s imagination and his rejection of Abstract Expressionism, Pop Art and Minimalism.\u00a0<\/p>\n\n\n\n<p>Ed Kienholz became known for poking holes in conventional ideas and institutions. Some of Kienholz\u2019s earliest assemblages and painted wooden reliefs, such as \u201c\u2019Ore the Ramparts We Watched, Fascinated\u201d (1959), were concerned with the American-Soviet space race. Taking inspiration from \u201cThe<br>Star-Spangled Banner,\u201d the work conjures imagery of war, independence and fireworks. However, we see tattered boxes of electronics and a ragged American flag seal, and learn that this work refers to the country\u2019s overly optimistic efforts in the race\u2019s early years \u2013 pointing to a sense of faded glory. Another<br>prominent work in his early career was \u201cThe Nativity,\u201d (1961-64) a larger installation that anthropomorphized found objects, such as automobile hood ornaments, living room lamps and toy parts to create a three-dimensional reconstruction of Christ\u2019s birth \u2013 a blinking traffic light takes the form of<br>baby Jesus\u2019 head. Kienholz used these everyday items to examine humanity\u2019s deification of materialism.<\/p>\n\n\n\n<p>Stay tuned for the next post in this series, which will cover one of the Kienholz\u2019s most recognizable and controversial works, \u201cFive Car Stud,\u201d (1969-1972). The large-scale environment depicts a gruesome, life-sized scene of heinous violence, forcing viewers to confront hatred and violence in our collective culture. The piece remained in storage for nearly 40 years, and is now finally on display again for all to see.<\/p>\n\n\n\n<p><i><a href=\"http:\/\/lalouver.com\/exhibition.cfm?tExhibition_id=1210\">Five Car Stud<\/a> <\/i>is currently on display at Fondazione Prada through spring 2017. For more information, go to <a href=\"http:\/\/www.fondazioneprada.org\/\">http:\/\/www.fondazioneprada.org\/<\/a><\/p>\n\n\n\n<p>IMAGES (top to bottom): Edward Kienholz, <i>\u2018Ore The Ramparts We Watched, Fascinated<\/i>, 1959 painted wood, rope, radio parts, doll parts, other mixed media; Edward Kienholz,<i> The Nativity<\/i>, 1961, mixed media<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\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;]<\/p>\n","protected":false},"author":1,"featured_media":234,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"footnotes":""},"categories":[1],"tags":[19,25,90,89,80,81,91,57,82,56,24],"class_list":["post-232","post","type-post","status-publish","format-gallery","has-post-thumbnail","hentry","category-uncategorized","tag-art","tag-assemblage","tag-ed-and-nancy-kienholz","tag-edward-kienholz","tag-five-car-stud","tag-fondazione-prada","tag-italy","tag-kienholz","tag-milan","tag-nancy-kienholz","tag-sculpture","post_format-post-format-gallery"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\r\n<title>Kienholz does not tend to sublimate the lowness and tragedy of life - L.A. 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