#Edward_Kienholz - America My Hometown - Blain|Southern
▻https://www.blainsouthern.com/exhibitions/edward-kienholz-america-my-hometown
J’ai vu deux de ses œuvres au musée de Cologne, c’est très impressionnant.
https://hdabellecombe.files.wordpress.com/2016/05/edward-kienholz-monument-aux-morts-portable-1968-installation-289x975x243cm-musc3a9e-ludwig-cologne1.jpg?w=1416&h=585&crop=1 
https://d7hftxdivxxvm.cloudfront.net/?resize_to=fit&width=421&height=300&quality=80&src=https%3A%2F%2Fd32dm0rphc51dk.cloudfront.net%2F0UoTd4IX9WLkrdgAbuE3Rw%2Flarge.jpg America My Hometown traces Edward Kienholz’s formative years (1954-1967), showing an artist coming to terms with both his unique vision and the social climate of the US throughout this tumultuous era. The work is direct and raw in its execution, as well as unsparingly critical of the political problems of twentieth-century America.
One Day Wonder Painting (1954), the earliest work in the show, reveals Kienholz’s initial desire to become a painter. He soon developed a distinct artistic language based on his ability to transform found materials – including the discarded furniture on the streets of Los Angeles – into elaborate assemblage and complex tableaux with an angry and inventive wit. Bringing this vision to bear on the political and social issues of mid-century America, he became an iconoclast for whom nothing was sacrosanct. From the start of his artistic career, he rallied against the world with what John Coplans described as ‘a compulsively puritanical fury which impel(led) him to action’. Just four years after One Day Wonder Painting, Kienholz created The Little Eagle Rock Incident (1958), a reaction to the race riots at Arkansas Central High School in Little Rock the year prior. This was his first work that directly referenced a single, topical event. Employing taxidermy for the first time, the work signalled a move from construction paintings into assemblage.
#art #Installation_artistique #art_moderne #art_contemporain
