Choosing an appropriate setting for a painting or installation should require thoughtful consideration. In some cases a weak environment can distract from the artwork and contribute no aesthetics whatsoever. For myself I choose found objects for my artwork and then attempt to recreate the environment they came from. Rather than placing art in or around a sparse room I tend to believe the art itself needs to be aware and familiar with its surroundings.
This is called Birthday by Ed Kienholz
History as a Planter
1961
Paint and resin on metal oven and mannequin parts with metal Jew’s Harp, newspaper, wood, plexiglass, tin, Wandering Jew plant, and electrical cord
33 1/4 x 20 1/2 x 14 1/4 in. (84.5 x 52.1 x 36.2 cm) closed
Los Angeles County Museum of Art
1961
Paint and resin on metal oven and mannequin parts with metal Jew’s Harp, newspaper, wood, plexiglass, tin, Wandering Jew plant, and electrical cord
33 1/4 x 20 1/2 x 14 1/4 in. (84.5 x 52.1 x 36.2 cm) closed
Los Angeles County Museum of Art
To Mourn a Dead Horse
1989
Wooden table, television, light, photograph,
horse’s hoof, cloth, barbed wire, artillery shell,
pencil, paint, and polyester resin
60 x 29 x 14 in. (152.4 x 73.7 x 35.6 cm)
Collection of Nancy Reddin Kienholz
One of Robert Rauschenburg's Combine paintings
Anselm Kieffer
Ed Kineholz
"Bed" by Robert Rauschenburg
Robert Rauschenburg
This isn't an actual art installation-But it exemplifies how much of an impact a setting makes. Unabomber cabin in a FBI storage facility in Sacramento, California
Steve Adair
1989
Wooden table, television, light, photograph,
horse’s hoof, cloth, barbed wire, artillery shell,
pencil, paint, and polyester resin
60 x 29 x 14 in. (152.4 x 73.7 x 35.6 cm)
Collection of Nancy Reddin Kienholz
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