Page 39 - Studio International - September 1965

clearly through choice of material combined with surfaces to create permanent old objects-finally
working habits. William Seitz. in the Museum of transformed by definite references to symbolic forms.
Modern Art 'Assemblage· catalogue refers to Kienholz In contrast, Kienholz's sense of surface is never
as a cabinet-maker by trade who ... 'ironically hides the sentimental-he is not a junk sculptor-his surfaces are
thoroughness of his craftsmanship behind an appear­ modified according to the context he has in mind. For
ance of sloppy workmanship'. This is a mistaken view. example. in the piece entitled Backseat Dodge '38-a
although it is true that the type of skills Kienholz cut down and reassembled automobile with a beer­
employs might be associated with a kind of primitivism. drinking couple lovemaking in the interior-the original
Kienholz was brought up on a ranch. and exercises­ chrome exterior components. such as the headlamps,
to the fullest extent-those rough. manly skills doorhandles. etc .. are completely refurbished to their
associated with ranching. A true rancher in the United original degree of brilliance and the whole of the
States. even today, has to be able to do something of remaining exterior surfaces of the coachwork. including
everything; to be carpenter. plumber. electrician. the windows has been sprayed with a shrill blue
mechanic. and engineer. as well as handle animals. hunt flocking to produce a tasteless. gaudy and garish
and skin a trophy. Kienholz's craftsmanship is stout appearance. It is also apparent that Kienholz's skill in
and blunt: he is without any chicness whatsoever. He the handling of materials-the way he engineers his
exercises his skills to make his work as solid and tortion and leverage-is not purely for the sake of good
lasting as possible (probably more so than any other craftsmanship. His astonishing knowledge of. and
assemblagist working today). His work is not only well facility with. a wide range of industrial processes is part
engineered. but expoxied and plasticised as well. of a whole new inventory of skills that are as important
Robert Mallory, for example. is also an assemblagist to a serious artist as drawing and modelling used to be.
who makes rigid and permanent the most ephemeral Kienholz will also often use the machine as a matrix
and dilapidated of materials. But in injecting and when he needs to express something distasteful-to
immersing his materials with plastics he embalms the show ugly commercialism he will either mechanise

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