 |
|
|
Kienholz
 BALTIC
Centre for Contemporary Art
14 May – 29 August, 2005
www.balticmill.com
read
press release
Museum of Contemporary
Art, Sydney
16 December, 2005 – 5 March, 2006
www.mca.com.au
A fully illustrated catalogue has been
produced in conjunction with the exhibition, published by
BALTIC The Centre for Contemporary Art, in association with
the Museum of Contemporary Art, Sydney. The publication contains
a preface by Pippa Coles (Head of Programme, BALTIC), a foreword
by Elizabeth Ann Macgregor (Director, MCA Sydney) and essays
by David Anfam, Rosetta Brooks and Edward Allington.
Click
here to watch Tim Marlow in conversation
with Nancy Reddin Kienholz on the subject of her
exhibition at BALTIC.
Ed Kienholz
Biography
1927 Born in Fairfield, Washington
1994 Died in Hope, Idaho
1953-73 Resident of Los Angeles
Nancy Reddin
Kienholz
Biography
1943 Born in Los Angeles,
California
Lives and works in Hope, Idaho; Houston, Texas and Berlin, Germany
full
biography
click
for the Kienholz artist profile
Recent exhibition
Kienholz
Haunch of Venison
London, England
7 October – 9 November, 2005 |
|
|
 |
| |
|
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
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
|
|
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. |
|
|
| |
|
|
