Edited by Michael Juul Holm. Introduction by Paul Erik Tøjner, Anders Kold. Text by Roberto Ohrt, Thomas McEvilley. Interview with Paul McCarthy.
Edward Kienholz’s life-size tableau “Five Car Stud” (1969–72) depicts four automobiles and a pickup truck, arranged on a dirt floor in a dark room with their headlights illuminating a shocking scene: a group of white men exacting their gruesome “punishment” on an African American man. “Five Car Stud” is a harsh reminder of a shameful part of our history whose traces still linger. It was seen only in Germany in 1972 and has since remained in storage in Japan for almost 40 years. On the occasion of its first public showing in the United States, this volume examines an extraordinarily powerful artistic statement that has lost none of its potency. The catalogue presents essays by Roberto Ohrt and Thomas McEvilley, as well as an interview with American artist Paul McCarthy.
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FORMAT: Hbk, 10.5 x 10.25 in. / 128 pgs / illustrated throughout. LIST PRICE: U.S. $39.95 LIST PRICE: CANADA $53.95 GBP £34.99 ISBN: 9788791607967 PUBLISHER: Louisiana Museum of Modern Art AVAILABLE: 12/31/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm. Introduction by Paul Erik Tøjner, Anders Kold. Text by Roberto Ohrt, Thomas McEvilley. Interview with Paul McCarthy.
Edward Kienholz’s life-size tableau “Five Car Stud” (1969–72) depicts four automobiles and a pickup truck, arranged on a dirt floor in a dark room with their headlights illuminating a shocking scene: a group of white men exacting their gruesome “punishment” on an African American man. “Five Car Stud” is a harsh reminder of a shameful part of our history whose traces still linger. It was seen only in Germany in 1972 and has since remained in storage in Japan for almost 40 years. On the occasion of its first public showing in the United States, this volume examines an extraordinarily powerful artistic statement that has lost none of its potency. The catalogue presents essays by Roberto Ohrt and Thomas McEvilley, as well as an interview with American artist Paul McCarthy.
