The artwork of Claes Oldenburg

Alphabet/Good Humor

IMG 1804 Alphabet/Good Humor claes oldenburg

Featured artist is Claes Oldenburg

Claes Oldenburg

Claes Oldenburg

Claes Oldenburg

From Wikipedia, the free encyclopedia
Claes Oldenburg
Museum Ludwig - Pressekonferenz - Claes Oldenburg-3979.jpg

Claes Oldenburg 2012
Born January 28, 1929 (age 86)
Stockholm, Sweden
Nationality American
Education Latin School of Chicago,
Art Institute of Chicago,
Yale University
Known for Sculpture, Public Art
Movement Pop Art
Awards Rolf Schock Prizes in Visual Arts(1995)

Claes Oldenburg (born January 28, 1929) is an American sculptor, best known for his public art installations typically featuring very large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects. Many of his works were made in collaboration with his wife, Coosje van Bruggen. Van Bruggen died in 2009 after 32 years of marriage. Oldenburg lives and works in New York.

Early life and education[edit]

Claes Oldenburg was born on January 28, 1929 in Stockholm, the son of Gösta Oldenburg[1] and his wife Sigrid Elisabeth née Lindforss.[2] His father was then a Swedish diplomat stationed in New York and in 1936 was appointed Consul General of Sweden to Chicago where Oldenburg grew up, attending the Latin School of Chicago. He studied literature and art history at Yale University[3] from 1946 to 1950, then returned to Chicago where he took classes at The School of the Art Institute of Chicago. While further developing his craft, he worked as a reporter at the City News Bureau of Chicago. He also opened his own studio and, in 1953, became a naturalized citizen of the United States. In 1956, he moved to New York, working part-time in the library of the Cooper Union Museum for the Arts of Decoration.[4]

Work[edit]

Oldenburg’s first recorded sales of artworks were at the 57th Street Art Fair in Chicago, where he sold 5 items for a total price of $25.[5] He moved back to New York City in 1956. There he met a number of artists, including Jim Dine, Red Grooms, and Allan Kaprow, whose Happenings incorporated theatrical aspects and provided an alternative to the abstract expressionism that had come to dominate much of the art scene. Oldenburg began toying with the idea of soft sculpture in 1957, when he completed a free-hanging piece made from a woman’s stocking stuffed with newspaper. (The piece was untitled when he made it but is now referred to as Sausage.)[6]

In 1959, Oldenburg started to make figures, signs and objects out of papier-mâché, sacking and other rough materials, followed in 1961 by objects in plaster and enamel based on items of food and cheap clothing.[4]Oldenburg’s first show that included three-dimensional works, in May 1959, was at the Judson Gallery, at Judson Memorial Church on Washington Square.[7] During this time, artist Robert Beauchamp described Oldenburg as “brilliant,” due to the reaction that the pop artist brought to a “dull” abstract expressionist period.[8]

In the 1960s Oldenburg became associated with the Pop Art movement and created many so-called happenings, which were performance art related productions of that time. The name he gave to his own productions was “Ray Gun Theater”. The cast of colleagues who appeared in his performances of included artists Lucas Samaras, Tom Wesselman, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, dealer Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer.[6] His first wife (1960–1970) Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, art dealt with “profound” expressions or ideas. But Oldenburg’s spirited art found first a niche then a great popularity that endures to this day. In December 1961, he rented a store on Manhattan’s Lower East Side to house “The Store,” a month-long installation he had first presented at the Martha Jackson Gallery in New York, stocked with sculptures roughly in the form of consumer goods.[6]

Oldenburg moved to Los Angeles in 1963 “because it was the most opposite thing to New York I could think of”.[6] That same year, he conceived AUT OBO DYS, performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York’s Central Park (1965)[9] and Lipsticks in Piccadilly Circus, London (1966).[10] In 1967, New York city cultural adviser Sam Green realized Oldenburg’s first outdoor public monument; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground.[3]In 1969, Oldenberg contributed a drawing to the Moon Museum.

Many of Oldenburg’s large-scale sculptures of mundane objects elicited ridicule before being accepted. For example, the 1969 Lipstick (Ascending) on Caterpillar Tracks, was removed from its original place in Beinecke Plaza atYale University, and “circulated on a loan basis to other campuses”.[11] With its “bright color, contemporary form and material and its ignoble subject, it attacked the sterility and pretentiousness of the classicistic building behind it.” The artist “pointed out it opposed levity to solemnity, color to colorlessness, metal to stone, simple to asophisticated tradition. In theme, it is both phallic, life-engendering, and a bomb, the harbinger of death. Male in form, it is female in subject…”[11] One of a number of sculptures that have interactive capabilities, it now resides in the Morse College courtyard.

From the early 1970s Oldenburg concentrated almost exclusively on public commissions.[10] His first public work, “Three-Way Plug” came on commission from Oberlin College with a grant from the National Endowment for the Arts.[12] His collaboration with Dutch/American writer and art historian Coosje van Bruggen dates from 1976. Their first collaboration came when Oldenburg was commissioned to rework Trowel I, a 1971 sculpture of an oversize garden tool, for the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands.[13] Oldenburg has officially signed all the work he has done since 1981 with both his own name and van Bruggen’s.[6] In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser, Scale X (1999) is in the National Gallery of Art Sculpture Garden. Another well known construction is the Free Stamp in downtown Cleveland, Ohio. This Free Stamp has an energetic cult following.[citation needed]

In addition to freestanding projects, they occasionally contributed to architectural projects, among them two Los Angeles projects in collaboration with architect Frank O. Gehry: Toppling Ladder With Spilling Paint, which was installed at Loyola Law School in 1986, and Binoculars, Chiat/Day Building, completed in Venice in 1991;.[6] The couple’s collaboration with Gehry also involved a return to performance for Oldenburg when the trio presented Il Corso del Coltello, in Venice, Italy, in 1985; other characters were portrayed by Germano Celant and Pontus Hultén.[14] “Coltello” is the source of “Knife Ship,” a large-scale sculpture that served as the central prop; it was later seen in Los Angeles in 1988 when Oldenburg, Van Bruggen and Gehry presented Coltello Recalled: Reflections on a Performance at the Japanese American Cultural & Community Center and the exhibition Props, Costumes and Designs for the Performance “Il Corso del Coltello” at Margo Leavin Gallery.[6]

In 2001, Oldenburg and van Bruggen created ‘Dropped Cone’, a huge inverted ice cream cone, on top of a shopping center in Cologne, Germany.[15] Installed at the Pennsylvania Academy of the Fine Arts in 2011, Paint Torchis a towering 53-foot-high pop sculpture of a paintbrush, capped with bristles that are illuminated at night. The sculpture is installed at a daring 60-degree angle, as if in the act of painting.[16]

Exhibitions[edit]

Claes Oldenburg in Stedelijk Museum Amsterdam (1970)

Oldenburg’s first one-man show in 1959, at the Judson Gallery in New York, included figurative drawings and papier-mâché sculptures.[10] He was honored with a solo exhibition of his work at the Moderna Museet (organized by Pontus Hultén), in 1966; the Museum of Modern Art, New York, in 1969; and with a retrospective organized by Germano Celant at the Solomon R. Guggenheim Museum,[17] New York, in 1995 (travelling to the National Gallery of Art, Washington, D.C.; Museum of Contemporary Art, Los Angeles; Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn; and Hayward Gallery, London). In 2002 the Whitney Museum of American Art in New York held a retrospective of the drawings of Oldenburg and Van Bruggen; the same year, the Metropolitan Museum of Art in New York exhibited a selection of their sculptures on the roof of the museum.[3]

Oldenburg is represented by The Pace Gallery in New York and Margo Leavin Gallery in Los Angeles.

The city of Milan, Italy, commissioned the work known as Needle, Thread and Knot (Italian: Ago, filo e nodo) which is installed in the Piazzale Cadorna.

Recognition[edit]

In 1989, Oldenburg won the Wolf Prize in Arts. In 2000, he was awarded the National Medal of Arts.[18] Oldenburg has also received honorary degrees from Oberlin College, Ohio, in 1970;Art Institute of Chicago, Illinois, in 1979; Bard College, New York, in 1995; and Royal College of Art, London, in 1996, as well as the following awards: Brandeis University Sculpture Award, 1971; Skowhegan Medal for Sculpture, 1972; Art Institute of Chicago, First Prize Sculpture Award, 72nd American Exhibition, 1976; Medal, American Institute of Architects, 1977; Wilhelm-Lehmbruck Prize for Sculpture, Duisburg, Germany, 1981; Brandeis University Creative Arts Award for Lifetime Artistic Achievement, The Jack I. and Lillian Poses Medal for Sculpture, 1993; Rolf Schock Foundation Prize, Stockholm, Sweden, 1995. He is a member of the American Academy and Institute of Arts and Letters since 1975 and the American Academy of Arts and Sciences since 1978.[19]

Oldenburg and Coosje van Bruggen have together received honorary degrees from California College of the Arts, San Francisco, California, in 1996; University of Teesside, Middlesbrough, England, in 1999; Nova Scotia College of Art and Design, Halifax, Nova Scotia, in 2005; the College for Creative Studies in Detroit, Michigan, in 2005, and the Pennsylvania Academy of Fine Arts, 2011. Awards of their collaboration include the Distinction in Sculpture, SculptureCenter, New York (1994); Nathaniel S. Saltonstall Award, Institute of Contemporary Art, Boston (1996); Partners in Education Award, Solomon R. Guggenheim Museum, New York (2002); and Medal Award, School of the Museum of Fine Arts, Boston (2004).[19]

In her 16-minute, 16mm film Manhattan Mouse Museum (2011), artist Tacita Dean captured Oldenburg in his studio as he gently handles and dusts the small objects that line his bookshelves. The film is less about the artist’s iconography than the embedded intellectual process that allows him to transform everyday objects into remarkable sculptural forms.[20]

Personal life[edit]

Patty Mucha was Oldenburg’s first wife, from 1960 to 1970. She was a constant performer in Oldenburg’s happenings and performed with The Druds.

Between 1969 and 1977, Oldenburg was in a relationship with the feminist artist and sculptor, Hannah Wilke, who died in 1993.[21] They shared several studios and traveled together, and Wilke often photographed him.

Oldenburg and his second wife, Coosje van Bruggen, met in 1970 when Oldenburg’s first major retrospective traveled to the Stedelijk Museum in Amsterdam, where van Bruggen was a curator.[22] They were married in 1977.[23]

In 1992 Oldenburg and van Bruggen acquired Château de la Borde, a small Loire Valley chateau, whose music room gave them the idea of making a domestically sized collection.[22] Van Bruggen and Oldenburg renovated the house, decorating it with modernist pieces by Le Corbusier, Charles and Ray Eames, Alvar Aalto, Frank Gehry, Eileen Gray.[24] Van Bruggen died on January 10, 2009, from the effects of breast cancer.[13]

Oldenburg’s brother, art historian Richard E. Oldenburg, was director of the Museum of Modern Art, New York, between 1972 and 1993,[6] and later chairman of Sotheby’s America.[25]

Art market[edit]

Oldenburg’s sculpture Typewriter Eraser (1976), the third piece from an edition of three, was sold for $2.2 million at Christie’s New York in 2009.[26]

Gallery[edit]

Claes Oldenburg 2

Claes Oldenburg

Related posts:

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 85 (Breaking down the song “When I’m Sixty-Four” Part B) Featured Photographer and Journalist is Bill Harry

One would think that the young people of the 1960’s thought little of death but is that true? The most successful song on the  SGT PEPPER’S album was about the sudden death of a close friend and the album cover was pictured in front of a burial scene.   Francis Schaeffer’s favorite album was SGT. […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 84 (Breaking down the song “When I’m Sixty-Four”Part A) Featured Photographer is Annie Leibovitz

_________ I think it is revolutionary for a 18 year old Paul McCartney to write a song about an old person nearing death. This demonstrates that the Beatles did really think about the process of life and its challenges from birth to day in a  complete way and the possible answer. Solomon does that too […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 83 THE BEATLES (Why was Karlheinz Stockhausen on the cover of Sgt. Pepper’s? ) (Feature on artist Nam June Paik )

_____________ Karlheinz Stockhausen was friends with both Lennon and McCartney and he influenced some of their music. Today we will take a close look at his music and his views and at some of the songs of the Beatles that he influenced.   Dr. Francis Schaeffer: How Should We Then Live? Episode 9 (Promo Clip) […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 82 THE BEATLES, Breaking down the song DEAR PRUDENCE (Photographer featured is Bill Eppridge)

Mia and Prudence Farrow both joined the Beatles in their trip to India to check out Eastern Religions. Francis Schaeffer noted, ” The younger people and the older ones tried drug taking but then turned to the eastern religions. Both drugs and the eastern religions seek truth inside one’s own head, a negation of reason. […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 81 THE BEATLES Why was Dylan Thomas put on the cover of SGT PEPPERS? (Featured artist is sculptor David Wynne)

    Dylan Thomas was included on SGT PEPPER’S cover because of words like this, “Too proud to cry, too frail to check the tears, And caught between two nights, blindness and death.” Francis Schaeffer noted: This is sensitivity crying out in darkness. But it is not mere emotion; the problem is not on this […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 80 THE BEATLES (breaking down the song “Lucy in the Sky with Diamonds” ) (Featured artist is Saul Steinberg)

John Lennon was writing about a drug trip when he wrote the song LUCY IN THE SKY WITH DIAMONDS and Paul later confirmed that many years later. Francis Schaeffer correctly noted that the Beatles’ album Sgt. Pepper’s brought the message of drugs and Eastern Religion to the masses like no other means of communication could. Today […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 79 THE BEATLES (Why was William Burroughs on Sgt. Pepper’s cover? ) (Feature on artist Brion Gysin)

______________ Why was William S. Burroughs put on the cover of Sgt. Pepper’s Lonely Hearts Club Band? Burroughs was challenging the norms of the 1960’s but at the same time he was like the Beatles in that he was also searching for values and he never found the solution. (In the last post in this […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE PART 78 THE BEATLES (Breaking down the song TOMORROW NEVER KNOWS) Featured musical artist is Stuart Gerber

The Beatles were “inspired by the musique concrète of German composer and early electronic music pioneer Karlheinz Stockhausen…”  as SCOTT THILL has asserted. Francis Schaeffer noted that ideas of  “Non-resolution” and “Fragmentation” came down German and French streams with the influence of Beethoven’s last Quartets and then the influence of Debussy and later Schoenberg’s non-resolution which is in total contrast […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 77 THE BEATLES (Who got the Beatles talking about Vietnam War? ) (Feature on artist Nicholas Monro )

It was the famous atheist Bertrand Russell who pointed out to Paul McCartney early on that the Beatles needed to bring more attention to the Vietnam war protests and Paul promptly went back to the group and reported Russell’s advice. We will take a closer look at some of Russell’s views and break them down […]

FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 76 THE BEATLES (breaking down the song STRAWBERRY FIELDS FOREVER) (Artist featured is Jamie Wyeth)

Francis Schaeffer correctly noted: In this flow there was also the period of psychedelic rock, an attempt to find this experience without drugs, by the use of a certain type of music. This was the period of the Beatles’ Revolver (1966) and Strawberry Fields Forever (1967). In the same period and in the same direction […]

Advertisements
Post a comment or leave a trackback: Trackback URL.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: