Polyester resin, paint, fiberglass, and flock, truncated 1938 Dodge, clothing, chicken wire, beer bottles, artificial grass, and plaster cast. 66 x 240 x 144 in. Also derives from specific memory from past.When first display at LACMA it was deemed too pornographic, but it became more popular because of this controversy.
The State Hospital, 1964-66 Large installation piece, interior & exterior The motivation to create this piece came from an actual experience of the artist who worked as an orderly in a mental hospital before moving to Los Angeles and starting his art career. Exterior Institutional-looking white outer shell crate with door with small barred window […]
The artist reconstructed the interior of a bar in LA. Everything is the same except for the patrons, who all have clocks for heads that read 10:10. Kienholz was aiming to show the disconnected reality of time within a bar.
The Portable War Memorial 1968 Tableau: plaster casts, tombstone, blackboard, flag, poster, restaurant furniture, photographs, working Coca-Cola machine, stuffed dog, wo, od, metal, and fiberglass 114 x 384 x 96 in. (289.6 x 975.4 x 243.8 cm)
This is the largest of Kienholz’ tableau installation and perhaps the most provocative because of it’s content. It involves nine life-sized figures, five automobiles, several trees and a truckload of dirt. While it was the last piece he worked on before moving to Berlin, it was never exhibited in the U.S. during his lifetime.
To Mourn a Dead Horse 1989 Wooden table, television, light, photograph, horse’s hoof, cloth, barbed wire, artillery shell, pencil, paint, and polyester resin 60 x 29 x 14 in.
Auping, Michael. “Edward Kienholz/MATRIX 21.” University of CA, Berkeley Art Museum & Pacific Film Archive. April 1, 1979. Accessed April 25, 2015. bampfa.berkeley.edu. The museum’s webpage is a description of the “Edward Kienholz/MATRIX 21” art exhibit of the Spring of 1979. The author offers a synopsis and critique of Kienholz’ body of work. Colosi, […]