The Happenings were done there, the dances, all the early choreography, like Yvonne Rainer. And there were performances. You did performances there, right?
They asked me to do a show, and I was planning on showing my figure paintings. ROSE: You were married twice and had very important creative relationships with your wives. Patty Mucha, a painter and a poet, and Coosje van Bruggen, who was a Dutch art historian and writer. Now, how did you meet Patty?
She lived with Olga Adorno. ROSE: Oh, yes. Olga Adorno was this very beautiful Puerto Rican dancer and nightclub singer. She was extremely glamorous—she was like a movie star. ROSE: She was fabulous, gorgeous, far grander than our little dinky world. But all of this goes to say that, at that time, there was a climate for performance, of people dressing up for each other, for parties or happenings or whatever.
The art world was very small and the people got together at parties. There was less commercialism. ROSE: There was no money. We were outcasts. And there were no services, there was nothing. You had nothing to do with anyone except other artists. Then the civilians began to come, and it was over. ROSE: There was a sense of community. It was like a huge dysfunctional family. Because when I arrived, there was still some confusion about where we were going after abstract expressionism.
That was a pretty formidable group. ROSE: Yes, a very experimental group. We live today in a risk-averse culture. Back then, we were scared of nothing because we had nothing to lose. You paid very little for your apartments.
I had an apartment with five rooms and it was 60 dollars a month. He was always surrounded by about ten people who worshipped him. But he was drawing shoes and that sort of thing. His work as an artist came a bit later. I had gone to Los Angeles to make a show with Virginia Dwan. Andy was coming to Los Angeles for the first time to do a show with Irving Blum. We happened to arrive at the same moment. I stayed in L. But really, the soft stuff comes out of Happenings, because of the costumes and props that Patty would sew.
She continued to sew the soft sculptures for me. I would conceive and design them, and we would translate them into patterns. The first big ones were the cake, the cone, and the hamburger. One day a red convertible pulled up outside our cottage and it was Sidney Janis. ROSE: They were recognizable objects. And there was also a democratic urge, I believe. Artists wanted people in some way to be able to recognize things.
You mentioned your rules. What were they? ROSE: That work was amazing! It was like a motel bedroom, the whole thing installed at the Sidney Janis Gallery. It was the reinvention of sculpture, really. Duchamp is known for calling a thing art, rather than making it. A lot of that is picked up in pop art, too—by Andy, for example. So that was the big difference. Mine was not pop art. I maybe started with a subject, but I changed the subject.
ROSE: He wanted to be impersonal, and most of your work is very personal. The one I like best is the jello mold of your face—so that you could be served. And it was served at a dinner party back in We had about 50 of them in different colors all lined up. I remember Donald Judd really hated pop art, but he liked your work. It was more a critique of architecture. That was the first step. And then I started to play around with the possibility of making pieces in an architectural form.
And Chicago is the city of architecture. It has struck me that a lot of the subject matter of your work involves food or consumption. I mean, there is no such thing as a perfect lamb chop; you can make all types of lamb chops. And people eat it and it changes and disappears. Also it has an odor, and you can eat it. Because those have to be realized through industrial fabrication.
There was a giant ironing board, for example, for the Lower East Side. Actually, New York is great for playing around.
I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan. And you did do the kinetic Giant Ice Bag []. ROSE: I love the ice bag. And there was a period in which there was a lot of, shall we say, hangover situations requiring ice bags. ROSE: Of course, everybody takes drugs now. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. I rented an abandoned factory in North Haven, Connecticut, and started to make different things.
Broken Kilometer , as Kellein writes, surpasses many other great works: "Even Barnett Newman's 'zip' paintings, Dan Flavin's fluorescent tube …. Alex Potts. Simon Grant1 and Vija Celmins. Vija Celmins was born in Latvia in , fled with her family to Germany in advance of the Soviet army …. Claire Bishop. Does it apply to big dark rooms that you stumble into to watch …. Main menu additional Become a Member Shop.
In Tate Britain. Prints and Drawings Rooms 6 artworks by Claes Oldenburg. Read full Wikipedia entry. Pop art. Artworks Left Right. Claes Oldenburg Claes Oldenburg at Dwan gallery View by appointment. Claes Oldenburg Claes Oldenburg Claes Oldenburg The Store See all Features Left Right. Content compiled and written by The Art Story Contributors.
Edited and revised, with Summary and Accomplishments added by Ruth Epstein. The Art Story. Ways to support us. Movements and Styles: Pop Art.
It just seems that that is what I see. I am for an artist who vanishes. The image is the most complete technique of all communication. I am for the art of ice cream cones dropped on concrete. Summary of Claes Oldenburg With his saggy hamburgers, colossal clothespins and giant three-way plugs, Claes Oldenburg has been the reigning king of Pop sculpture since the early s, back when New York was still truly gritty. Read artistic legacy. Artwork Images. Influences on Artist.
Robert Rauschenberg. Marcel Duchamp. Jean Dubuffet. Jasper Johns. Allan Kaprow. Jim Dine. Donald Judd. Leo Castelli. Abstract Expressionism. Art Brut and Outsider Art. Jeff Koons. Damien Hirst. Hannah Wilke. Frank Gehry. Pop Art. Neo Pop Art. The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
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