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Ed Kienholz
1927 Born in Fairfield, Washington
1994 Died in Hope, Idaho
1953-73 Resident of Los Angeles
Nancy Reddin
Kienholz
1943 Born in Los Angeles, California
Lives and works in Hope, Idaho; Houston, Texas and Berlin, Germany
full biography |
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Current exhibition
Lifelike
includes: Edward and Nancy Reddin Kienholz
Museum of Contemporary Art
San Diego, CA
24
February - 26 May 2013
mcasd.org
travels to:
Museum of Contemporary Art
San Diego, CA
24
February - 26 May 2013;
Blanton Museum of Art
University of Texas at Austin
Austin, TX
23
June - 29 September 2013
traveled from:
Walker Art Center
Minneapolis, MN
25
February - 27 May 2012
New Orleans Museum of Art
New Orleans, LA
10
November 2012 - 27 January 2013 |
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Selected L.A. Louver exhibitions
Selected museum exhibitions
Publications
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Kienholz Before LACMA
L.A. Louver, Venice, CA
24 January - 3 March 2012
Foreward by Peter Goulds, and text by Maurice Tuchman
40 pages, 28 color reproductions
Softback
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Ed and Nancy Reddin Kienholz: Tableau Drawings
1 March - 31 March 2001
L.A. Louver, Venice, CA
Essay by Marco Livingston, text and historical chronology by Nancy Reddin Kienholz
146 pages, 119 black and white illustrations, 37 color illustrations
Softback
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Kienholz: A Retrospective
Whitney Museum of American Art, New York, NY
in association with D.A.P./Distributed Art Publishers
29 February - 2 June 1996
Museum of Contemporary Art, Los Angeles, CA
30 June - 3 November 1996
Berlinische Galerie, Berlin, Germany
14 February – 20 April 1997
Foreword by David A. Ross, text by Rosetta Brooks, Monte Factor, Jürgen Harten, Richard Jackson, Nancy Reddin Kienholz, Alberta Mayo, Thomas McEvilley and Marcus Raskin
300 pages, 158 color illustrations
Softcover |
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Ed and Nancy Reddin Kienholz: Kienholz
Louver Gallery, New York, NY
28 October 1989 - 25 November 1989
Introduction by Sean Kelly, text by Walter Hopps
64 pages, 19 color illustrations
Softback |
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Untitled |
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Untitled (wood relief) |
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Untitled |
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Black With White |
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Leda and the Canadian Honker |
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Exodus |
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The Little Eagle Rock Incident |
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Untitled |
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'Ore The Ramparts We Watched, Fascinated |
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Mother Sterling |
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One and One Half Tits |
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American Girl |
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Flow Gently, Sweet Often |
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The Minister |
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It Takes Two to Integrate (Cha Cha Cha) |
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Sleepy's Hollow With Handle and Wheels |
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Lolli Pop Goes the Weasel |
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America My Hometown |
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The Sky is Falling:
Act One |
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The Black Angel |
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Mother Sterling Revisited |
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The Blink, Blink Frog |
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The God Box #1 |
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The God Box #2 |
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The God Box #3 |
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The World |
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Mayor Sam Edsel |
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After the Ball is Over #1 |
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The American Trip |
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The Black Leather Chair |
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The Cement Store #1 |
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The Cement Store #2 |
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The Portable War Memorial |
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H.I.D. #1 |
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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. |
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