Large: 16-03-23_EKeinholz-BirthdayAfterthought


Edward Keinholz:

Edward Kienholz (October 23, 1927 – June 10, 1994) was an American installation artist and assemblage sculptor whose work was highly critical of aspects of modern life. From 1972 onwards, he assembled much of his artwork in close collaboration with his artistic partner and fifth wife, Nancy Reddin Kienholz. Throughout much of their career, the work of the Kienholzes was more appreciated in Europe than in their native United States, though American museums have featured their art more prominently since the 1990s. Art critic Brian Sewell called Edward Kienholz “the least known, most neglected and forgotten American artist of Jack Kerouac’s Beat Generation of the 1950s, a contemporary of the writers Allen Ginsberg, William Burroughs and Norman Mailer, his visual imagery at least as grim, gritty, sordid and depressing as their literary vocabulary”. Most of Keinholz art is created from trash; and is highly critical of aspects of alleged civilized modern life.


The Birthday – 1964:

The Birthday” is an attempt to illustrate the precise moment when life begins. The woman lies in fear and pain, constricted by the old wives’ tales that she has heard all of her life. What should be a joyful fulfillment gives way to agonized despair.The plastic bubble is a scream, the arrows spasmodic suffering. There is a card from her husband explaining his absence. She is absolutely alone. Yet from this ravaged torment comes rejuvenation for her and all mankind. With this piece, Kienholz had completed a transition in style from experimental assemblage to one of defining and working out a total preconceived idea in large sculptural terms. Things were no longer found and hoarded against some vague future use, but now, with “The Birthday” and all subsequent works, items were obtained and used to complete a total concept. – archivioditra; The Artchive;  TRA; UOregon; Beat Museum.

The Birthday by Edward Keinholz; depicting War is Peace conception and consequences thereof. A woman is in a Masonic doctors floor (tiled floor); covered in dirt (dirt represent the furrow / earth of a woman’s vagina; where the seed is planted). She is tied down (not consenting) while, screaming into a bubble (her voice is censored), and giving birth to missiles, implying Masonic use of women as raped human cattle brood sows; to breed Human Factory Farming War Economy cannon fodder.  Giving birth to missiles or birth control? The Rockefellers and other prominent globalists that control the media, including this artists benefactor, media mobul Henry Luce, promote both depopulation options. The woman screams into a bubble so as not to be heard. – Healthy World Store: Death in the Air: Globalism, Terrorism and Toxic Warfare, by Leonard Horowitz.


The Ozymandias Parade – 1985:

Percy Blythe Shelley’s famous sonnet Ozymandias has inspired numerous artworks since it was published in 1818, most of them imagining those trunkless legs and that sneering visage of a despot forgotten by time. In 1985, Edward and Nancy Reddin Kienholz reimagined that ruler from the ancient past as a corrupt modern-day dictator commanding an abject ship of fools. Working with objects they collected in the flea markets of Berlin, Amsterdam, and Paris, they conjured a vast, satirical tableaux they called the The Ozymandias Parade. The piece, originally created for the exhibition “No! Contemporary American Dada” at the Henry Art Gallery in Seattle, has now taken up residence in the Pace Gallery at 25th Street, where the clueless despot seems to be leading the charge without actually being in charge. The decadent “ship of fools” is capped with nearly 700 blinking lights, which change with each presentation to reflect the colors of the nation where the work is being displayed. The president / chancellor / premier / dictator rides the belly of the beast. Monte Factor, a friend and collector of Kienholzes, was the model for the leader, who brandishes a red emergency phone in his hand and wears a yellow rubber ducky on his head. Nancy’s father and Ed’s mother posed for as general and the overburdened taxpayer he rides on. The general’s army of tin soldiers is at his feet. The word ‘No’ on his head is the result of a poll conducted each place the installation is shown. The question is, Are you satisfied with your government?” Religion (take your pick) is the carrot dangled before the workers. The vice president is going the wrong way. His horse seems to have tripped on its own skates. Pig’s snouts, of course. The little people watch the parade. The Third World watches too. Blind Justice at the prow of the ship. The scales are broken, and so is she.
– ArtNews: What Does Corruption Look Like: Meet the Kienholz Ozymandias, as clueless as the deluded despot in the famous Shelley.


All have sinned in Room 323 – 1992:

“All Have Sinned in Rm. 323” shows a female mannequin masturbating in front of a TV set full of Barbie dolls themselves having something of an orgy. On top of the set rests more Jesus kitsch and an enlarged photo of Tammy Bakker. The choice of this evangelist shows malice aforethought. She looks just like a decadent Barbie doll.
– LA Times: Ed Keinholz.

Tammy Faye Bakker’s portrait hangs behind a cross and more prominent television set as Kienholz muses abut the public’s “obsession with the dirty laundry of public figures, envisioned here as an act of masturbation, a way of ‘getting off’ on the apparent sins of others. ‘Which is the greater sin?'” we are asked. – Healthy World Store: Death in the Air: Globalism, Terrorism and Toxic Warfare, by Leonard Horowitz.


The Big Double Cross – 1987:

“The Big Double Cross” (1987-1989). Comprised of a large bullet housed in a silhouette of a cross and placed atop a marble plinth akin to a memorial stand, the piece stands over 8 feet tall and is an evocative statement on the follies of war. In the artist’s own words: “War in the name of religion is a big double cross.”
– La Louver: Yokohama Triennale: Image; Baltic Plus: Keinholz Big Double Cross.

From his lake view estate in Hope, Idaho. Kienholz brought symbols of militarism and religion together. Reflecting on his benefactors’ consensus for one world religion, the Whitney Museum published, “Throughout history, the name of God has been invoked to legitimize bloodshed, carnage, and mass destruction … Jews and Arabs have used military power to force their own ideological … imperatives on neighbours with different religious convictions … More than 8 feet high, [this] is one of the most breathtakingly simple elegies to the follies of war. In the artist’s own words: ‘War in the name of religion is the big double cross.'” A “Double Cross” in that the globalists that instigate wars also finance all the major religions.
» LA Times: Death in the Air: Globalism, Terrorism and Toxic Warfare, by Leonard Horowitz.


My Country Tis of Thee – 1991:

Then there is the ridiculous. In “My Country ‘Tis of Thee,” four pious mannequin politicians pledge allegiance. They wear used-car salesmen coats but no trousers. Each has one leg in a (pork) barrel. Each gently holds the penis of the colleague behind him as collegial form of self-protection. Ed Kienholz knew a lot. For one thing, he knew that old jokes, like old truths, don’t get stale.
– LA Times: Ed Keinholz

“Pork Barrel” politics as usual. The legislators and business men pledge allegiance to the flag, “while below the waist they enact never-ending daisy chain of commerce and government.”
» LA Times: Death in the Air: Globalism, Terrorism and Toxic Warfare, by Leonard Horowitz.


The Future as an Afterthought – 1962:

Drawing from the physical, social, and political landscapes of Los Angeles, many of the city’s artists created assemblage sculpture and collage by combining discarded objects. Ed Kienholz was among several artists who utilized assemblage as a mode of social commentary, creating works that expressed personal trauma and social upheaval, while taking a critical view of postwar consumerism and the glut of increasingly disposable wares. In The Future as Afterthought, a mass of grimy, damaged plastic dolls are strapped awkwardly together atop a wooden pedestal in a way that suggests dangerous overpopulation and evokes the form of the atomic mushroom cloud. At the base of the sculpture, a dismembered doll head seems to melt and scream in silent agony, its eyes closed tight in the face of inevitable looming disaster.
– Getty Center: The Future as an Afterthought.

A bundle of baby dolls, black, white and brown, are strapped into an atomic mushroom configuration with bicycle peddles symbolizing someone behind the nuclear weapons industry is peddling global infanticide. The Rockefeller family is indicted in both counts. As the wheel of population control goes round and round the same military-medical-petrochemical industrialists and propagandists are pleased and profiting.
» LA Times: Death in the Air: Globalism, Terrorism and Toxic Warfare, by Leonard Horowitz.