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My project initially revolved around the work of the mixed-media genius, Edward Kienholz. I found interest in the ideas he portrays in his work, and the way he portrays them, as well as the materials he uses and his methods of construction and presentation.
For example, his piece entitled, "The Illegal Operation", caught my attention.
It consists chiefly of a trolley chasse, a lamp, and a cement bag. Around these items are a bedpan, which holds a number of rusted tools, a bucket, and a stool. The cement bag lies on the trolley, split at the bottom end, dried cement stuck in position. The bag represents the patient. The operation is, of course, abortion. The piece is about illegal abortions, and the horror of them. The bedpan's tools, makeshift bed from a trolley, and household lamp all show us that this is NOT a pleasant scenario, but also tell us that it is, tragically, a routine one. The items are old and worn, and appallingly filthy. The only comfortable-looking item is the stool upon which the "operator" would sit. The absence of such a character, despite the presence of the patient, shows us the sly anonymity of this business, with a stool -- featureless and replaceable -- representing just about anybody. The lack of this character also shows how patients are simply left to "spill", as this cement-bag/person has done. The spilling is representative of the patient as they cry, or probably bleed to death. One of the most interesting things about the work of Kienholz is the attention to detail that may be overlooked at a first glance. For instance, in this piece, a bar connects the lamp and the trolley (upon which the patient/victim lies). This bar is a strained arm, showing us this person's tension, agony, or instability. It's hard to tell: for every different patient, it could be any, or more, or these.
Perhaps Kienholz most famous work is УRoxyТsФ. This was his first installation piece, and pretty much set the standard for all his work to follow. It was built with human-scale rooms, which contained items reminiscent of EdwardТs adolescence. The main features of these rooms, though, were grotesque and extraordinary figures, designed to represent prostitutes. They were built from dolls and skulls -- two of the artistТs favourite items used when creating art pieces -- as well as other things, too. Each prostitute had her own name, and looked completely different. They were each created as bizarre-looking machines -- their function obvious -- and set inside their very own room. Interestingly, УRoxyТsФ was actually a reconstruction of a Las Vegas World War II whore-house.
By constructing human-size installation pieces such as this, Kienholz invites the viewer into the work, by far breaking the distance set by standard paintings. His human-like figures in their vulnerable positions and homely manners forces us to feel invading. We are voyeurs, and we have no choice but to be this.
Other constructions by Kienholz are generally viewed frontally, and donТt offer the same level of interaction as RoxyТs, instead proposing themselves as a theatre stage. This adds a sarcastic twist to many of his pieces, since we are still entering into the territory of the piece, just not quite so literally.
KienholzТs work can be compared to that of another mix-media artists, Robert Rauschenberg. Rauschenberg presented what he called "combines": wall-mounted hybrids of paintings and assemblage, similar to the work of Kienholz. Kienholz though, unlike Raushcenberg, didn't exhbit his work straight-to-gallery, as we can tell from his huge piece, the aforementoined Roxy's. Kienholz works confronts us with the darker aspects of contemporary American culture and life. It's subjects are were society's victims and the methods of their victimization: the loneliness of death, furtive sex, violent acts motivated by racism. He focused on these topics while other artists of the 1950s and 1960s shied away from them. Like others though, he aimed to create an art that was more real than any art before it. He used discarded, real-life objects in place of paint, and rooms in place of canvas, to forge a new reality, as close as possible to our own.
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