Published: Mon, October 16, 2017
World | By Tasha Manning

Form is empty, empty is form: Edward Kienholz & Nancy Reddin


The top and bottom images belong to the 1964 "Dodge Rear Seat" mount

Clicking on the image above you can see it enlarged

Clicking on the image above You can see bigger

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The top and bottom images belong to the 1966 "The State Hospital" montage

The following 5 are from the 1984-1988 "Hoerengracht"

Edward Kienholz (1927-1994) met Nancy Reddin in 1972 and it was not long before the two worked side by side to perform Ed's works. Their compatibility led not only to marriage but also to Ed Decision-making in 1981 to make Nancy co-author of all the works in which they collaborated since their first meeting. But the aesthetic Kienholz - the strange and disturbing assemblages in the early reputation that Ed built - dates back many years before his meeting with Nancy. Early works such as 'Dodge Rear Seat' and 'While Visions of Plums Dancing in Their Heads' (both 1964) and the chilling work known as 'The State Hospital' (1966) confirmed Ed's very personal sculptural technique Fully developed several years before he met Nancy. A much later work in which both collaborated, was the large-scale installation entitled 'The Hoerengracht' (1984-88). He is currently enjoying an unlikely temporary residence at the National Gallery in London. 'The Hoerengracht' is a recreation of a famous side channel street - the Herengracht, or 'male channel' - in the red light district of Amsterdam. This is where negotiable virtue women often sit in sordid interiors dressed in faux leopard skin bikini, diaphanous negligés and other flimsy garments, to lure potential customers to cross the threshold. The title inserts an 'o' into the word Herengracht to make it 'whore channel'.

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