Edward Kienholz The sly fox. 1981. Assemblage... Lot n° 28

American Modernism Conceptual Art Edward Kienholz The sly fox. 1981. assemblage (fox head, mirror, resin, curved metal frame and zinc barometer on galvanized steel. Mounted on plywood panel. With hanging device on verso. 78.5 x 57.5 cm x 5.5 cm. - Signed and dated (incised). - Slightly dusty, verienzlte traces of aging, verso in places traces of studio, overall very good. Provenance: From the collection of the artist's assistant. - Unique. - Kienholz's installations and sculptural assemblages are controversial, unavoidably direct, and always critical. Better known as tableaux, they provocatively denounce explosive issues in U.S. society. In large format and constructed from everyday objects, found objects from flea markets and waste from junkyards and landfills, they deal with everyday American life, close to it discrimination, superficiality and double standards, as well as taboo subjects such as war, grievances and exploitation. They seem brutal, convey an inescapable coolness due to the materials used. Our "sly fox" succumbs to his own inner self, is unmasked as a chiseler by a glance in the mirror. Like a striking depiction, it is meant to shake things up. It is a deeper, abysmal fact of the American soul that Kienholz consistently brings out in his work. "Adrenaline-soaked anger has driven me through my work" (quoted in Ed Kienholz, art-in.de, 2.6.23). Assemblage (fox head, mirror, resin, curved metal frame and zinc barometer on galvanized steel. Mounted on plywood plate. Verso with hanging device. - Signed and dated (incised). - Slightly dusty, some signs of ageing, on verso traces of studio work in places, overall very good. - Provenance: From the collection of the artist's assistant. - Unique. - Kienholz's installations and sculptural assemblages are controversial, unavoidably direct and always critical. Better known as tableaux, they provocatively denounce explosive issues in US society. In large format and constructed from everyday objects, found objects from flea markets and rubbish from junkyards and landfills, they deal with everyday American life, with discrimination, superficiality and double standards as well as taboo subjects such as war, grievances and exploitation. They seem brutal, conveying an inescapable coolness due to the materials used. Our "sly fox" succumbs to his own inner self, is exposed as such by a glance in the mirror. Like a striking depiction, it is meant to shake things up. It is a deeper, more abysmal fact of the American soul that Kienholz consistently carries out in his work. "Adrenaline-soaked anger has driven me through my work." (Ed Kienholz, art-in.de, 2.6.23).