Chapter 19 Summary

In chapter 19 in Thomas McEvilley's “Sculpture in the Age of Doubt,” published 1999, he discusses the role of found objects becoming the new post-modernist ideal. One artist who grasps the idea of organic objects being considered art is Ed Kienholz, who is widely known for his interpretations of social scenarios. Although Kienholz began as a painter, his transition to sculpture consisted of the way he progressed in portraying reality. He created life-size environments in which the viewer could physically be placed in the scene, allowing for a more incisive approach to creating realism. He begins to relate the used, or found, objects to be symbolic of societal progression through a recycled view. Kienholz used his previously worn objects to expose the process of renewal as a spiritual development. He wanted the exposure of past elements to still exist within its current use. For example his work Roxy's (1961-1962) a theme, or style, is portrayed involving the environment as the piece itself creating a social reaction and familiarity of found objects. It strives to explore a symbolic narrative, not so much like particular arrangement but rather like a hint of a larger commentary towards idealistic society. From this point of view he further pushes the limit of the literal in following works.

Kienholz begins the formation of a less abstracted idea to create direct clarity of the subject. For example in his work Sollie 17 (1979-1980) a character is formed depicting a scenario of the affects of “failing” the occupational pursuit. This clearly gives a statement regarding societal norms and the aftermath of devastation. When creating these situations, Kienholz strives to enclose the environment to be like a contained emotional pause of particular situations.

Overall it is difficult to distinguish the identity of Kienholz in the sense of categorizing which movement he belongs to. The Modernist belief goes back to the Enlightenment ideals and the thought of society as naturally inclined to progress with time. Post-modernists explore the Enlightenment generation, yet they do not see history as trust-worthy nor that society is a progressing force. Lastly, Pre-modernist seek a different path, to establish a new spiritual connection with the core of artistic beliefs before it was tainted by the theory of Enlightenment. Although Kienholz relates mostly to the post-modernist beliefs, he still portrays characteristics of each movement generating a freely conceived portrayal of humanity in itself.

1. Is it necessary to develop a specific theme in your work?
2. How can sculpture be further pushed to relay the message of self-exploration?
3. Is any particular movement important to the progress of todays upcoming artists? Or should we disregard past artistic elements to create a new sense of raw emotion?