Edward Kienholz is best known for his 1960's large scale assemblages of found objects, urban detritus, and knick knacks arranged into environments or tableaux that comment on unpleasant social and cultural aspects of life. Kienholz's assemblages can be described as aged, dingy and opposite from the clean lined Minimalist sculpture that also emerged in the same era. Both styles (Minimalism and Kienholz's Assemblage) were centralized in Southern California and are the results of a turning away from Abstract Expressionism that dominated 1950's American art making.
Point Pink, an oil on masonite, was painted sometime after 1953 when Kienholz arrived Los Angeles and most likely before 1959. Point Pink is an Abstract Expressionistic painting; it is non-representational and created by form and color. It is possible to see the relationship between this early work and Kienholz's later assemblages. Jumbled shapes appear on a multi-planed background; there is a dingy untidiness to them while at the same time their placement is reasoned and intentional. "Kienholz" sigature in block letters can be seen on the bottom right corner.
Point Pink came to the Bowers Museum in 198O's. At that time the Museum was interested in building a contemporary art collection. Though the museum now focuses on cultural arts, Point Pink speaks to the diversity and wealth of our entire collection.
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