Kienholz’ art could arguably be considered both unique and “of his time” due to the types of art he created and the themes his used. He was a pioneering creator of “assemblage sculptures” as well as a pioneering member of the “Funk Art Movement” and was considered a member of the “Beat Generation”.
His assemblages were made from found and discarded objects, not originally intended as art materials – “the detritus of modern existence, including figures cast from life”. He created free-standing, large-scale scenes of modern life incorporating models made of these discarded objects. Regarding the use of these materials, Kienholz said in 1977, “I really begin to understand any society by going through its junk stores and flea markets. It is a form of education and historical orientation for me. I can see the results of ideas in what is thrown away by a culture.” (Berkeley)
Kieholz’ work has strong satirical and antiestablishment tones and is highly critical of modern life. “[Kienholz] was an astute and critical observer of modern life; ultimately a realist of uncompromising order” (Berkeley). “The theme of his “environments” is the vulnerability of the private life of the individual to intervention by the environment and social convention”. (beatmuseum.org)
His works achieved considerable controversy and was often labeled as revolting, pornographic, and blasphemous. “At times vulgar, brutal, and gruesome, confronting the viewer with questions about human existence and the inhumanity of 20th century society. [His] visual imagery was grim, gritty, sordid and depressing.” (Brian Sewell)