Artists USA

Long hidden Kienholz to get LA show

First US exhibition of Five Car Stud, artist’s hard-hitting depiction of a lynching

Ed Kienholz’s "Five Car Stud", 1969-72, is to go on display at Lacma in October. Photo: ©Kienholz. Collection of Kawamura Memorial Museum of Art, Sakura, Japan. Courtesy of LA Louver, Venice, CA and The Pace Gallery, New York

LOS ANGELES. Ed Kienholz’s disturbing installation, Five Car Stud, 1969-72, depicting a brutal racist attack is set to go on display at the Los Angeles County Museum of Art (Lacma) this October as part of the six-month-long Pacific Standard Time exhibition programme, run in cooperation with the J. Paul Getty Museum. The controversial work has been in storage for nearly 40 years in Japan and has never been publicly shown in the US.

The work was originally created by Kienholz in Los Angeles at the artist's home in Laurel Canyon before it was reassembled and photographed in the parking lot of Gemini GEL, an artists’ workshop and publisher. It consists of a group of five white figures in grotesque rubber masks tying down and castrating a black man. A white woman sits in the cab of a pickup truck vomiting, the implication being that the man is being lynched because of their inter-racial relationship. Viewers enter a darkened enclosure and walk directly on the dirt floor the tableau stands on, as if they are part of the installation. “It will disturb many people,” says Stephanie Barron, the senior curator of modern art at Lacma and the exhibition organiser. “It’s a provocative piece.”

The work was first exhibited at Documenta 5 in Kassel in 1972, organised by the late Swiss curator Harald Szeemann. It then travelled to Berlin and Düsseldorf before a Japanese collector acquired it. The work is now owned by the Kawamura Memorial Museum of Art in Sakura, Japan.

“I saw it in 1972 at Documenta,” Barron remembers. “It has haunted me for so many years. Being able to see it come back to Los Angeles is kind of remarkable.”

The artist’s widow and collaborator, Nancy Reddin Kienholz, has been restoring Five Car Stud at their home in Idaho with a team of conservators and is due to start installing the piece in the museum this August. She says the work was in poor condition after spending decades in storage in Japan. “One of the figures is holding a shotgun, which is integral to his hand,” she says. “Someone had cut two inches out of the middle of the barrel, I guess to see if the shotgun was real.”

But it wasn’t only the physical labour that made the work tough to restore, it was also the subject matter. “It’s a very difficult piece,” says Reddin Kienholz. “It was depressing to have to work on it.”

Reddin Kienholz says that “you really need to be inside” Five Car Stud, unlike other Kienholz works, which she says viewers look in on. “You’re no longer just a voyeur, you’re a participant,” she says. “You will be confronted by it. Don’t expect to walk in it and be too comfortable. I find it scary and I’m used to it.” At Lacma visitors will enter Five Car Stud via an introductory gallery.

After Pacific Standard Time ends, the work will join the Getty’s exhibition “Greetings from LA: Artists and Publics 1945-80” when it travels to the Martin-Gropius-Bau in Berlin, followed by the Louisiana Museum of Modern Art, Denmark.

“I think showing the piece in Europe is going to provoke all kinds of discussions that wouldn’t have come up in 1972,” says Barron. When it first toured Europe, she says, many perceived race relations as a particularly American issue. “I think globally we are aware of a whole host of racial injustices that weren’t really part of the discourse in the 70s.”



Reddin Kienholz agrees: “We’re in such a strange time right now that I’m hoping it will open up a dialogue. Europeans won’t be able to say it’s an American problem anymore. You always hope we’re better people, but we’re not.”

More from The Art Newspaper

Comments

17 Oct 11
15:27 CET

EL WHY, LOS ANGELES

I saw this today. It emotional and awesome. I'm glad it has been brought out of storage. It has made me want ti see more of Ed Kienholz's art. Being life size shows how horrible lynching was, it should open the eyes of the ignorants.

15 Oct 11
11:11 CET

PHYLLIS GREENBERG, LOS ANGELES

Its shocking and very significant to say the least.How far have we come? We just put a black man to death...If he was white? Im not sure that would have happened...They asked Obama for his birth certificate and played the race card for 3 years now...And he's half white...We can never forget this bigotry......Ever......This installation is " In your face' and its great..Phyllis

14 Jun 11
16:7 CET

RICK COHAN, PISMO BEACH, CA. 93448

This piece I worked on and I have many memories of my friendship with Ed and his family. Japan bought the piece after they viewed it at Kassell. It was shipped to Japan where it was met by customs not the curator. The piece has a few gun as part of the art but guns aren't allowed in Japan so customs almost destroyed the piece when they removed the guns. Thanks to Nancy and her wonderful crew in Idaho it has been restored and I am looking forward to seeing it once move.

31 Mar 11
17:26 CET

DONALD FRAZELL, LONG BEACH CA

Interesting, who paid to hide it for so long? One of the few pieces artists have made since 1960 that is relevant at all to our world, and it got stored away? art collegia delenda est

Submit a comment

All comments are moderated. If you would like your comment to be approved, please use your real name, not a pseudonym. We ask for your email address in case we wish to contact you - it will not be made public and we do not use it for any other purpose.

Email*
 
Name*
 
City*
 
Comment*
 

Want to write a longer comment to this article? Email letters@theartnewspaper.com

 

Share this