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==Work==
==Work==
{{Main|List of public art by Oldenburg and van Bruggen}}
{{Main|List of public art by Oldenburg and van Bruggen}}
Oldenburg's first recorded sales of artworks were{{When|date=December 2018}} at the [[57th Street Art Fair]] in Chicago, where he sold 5 items for a total price of $25.<ref>David McCracken, "The Art Fair That's Been In the Picture the Longest", ''[[Chicago Tribune]]'', June 5, 1987, page 3</ref> 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 [[happening]]s 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''.)<ref name="articles.latimes.com">{{Cite web|last=McKenna|first=Kristine|date=1995-07-02|title=Art : When Bigger Is Better : Claes Oldenburg has spent the past 35 years blowing up and redefining everyday objects, all in the name of getting art off its pedestal.|url=https://www.latimes.com/archives/la-xpm-1995-07-02-ca-19310-story.html|access-date=2023-04-21|website=Los Angeles Times|language=en-US}}</ref>
Oldenburg's first recorded sales of artworks were{{When|date=December 2018}} at the [[57th Street Art Fair]] in Chicago, where he sold 5 items for a total price of $25.<ref>David McCracken, "The Art Fair That's Been In the Picture the Longest", ''[[Chicago Tribune]]'', June 5, 1987, page 3</ref> 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 [[happening]]s 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''.)<ref name="Los Angeles Times">{{Cite web|last=McKenna|first=Kristine|date=1995-07-02|title=Art : When Bigger Is Better : Claes Oldenburg has spent the past 35 years blowing up and redefining everyday objects, all in the name of getting art off its pedestal.|url=https://www.latimes.com/archives/la-xpm-1995-07-02-ca-19310-story.html|access-date=2023-04-21|website=Los Angeles Times|language=en-US}}</ref>


By 1960, Oldenburg had produced sculptures containing simply rendered figures, letters, and signs, inspired by the [[Lower East Side]] neighborhood where he lived, made out of materials such as cardboard, [[burlap]], and newspapers; in 1961, he shifted his method, creating sculptures from [[chicken wire]] covered with plaster-soaked canvas and enamel paint, depicting everyday objects&nbsp;– articles of clothing and food items.<ref>"[https://www.moma.org/interactives/exhibitions/2013/oldenburg/ Claes Oldenburg: On View, Apr 14&nbsp;– Aug 5, 2013]". Museum of Modern Art. moma.org. Sections "Introduction", The Street" and "The Store". Retrieved October&nbsp;23, 2017.</ref> Oldenburg's first show which included three-dimensional works, in May 1959, was at the Judson Gallery, at [[Judson Memorial Church]] on [[Washington Square Park|Washington Square]].<ref>Claes Oldenburg, "Remembering Judson House," New York: Judson Memorial Church, p. 292</ref> 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.<ref name="AAA">{{cite web | author=Paul Cummings | year=1975 | title=Oral history interview with Robert Beauchamp, 1975 Jan. 16 | work=Oral history interview | publisher=[[Archives of American Art]] | url=http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-beauchamp-12997 | access-date=June 30, 2011}}</ref>
By 1960, Oldenburg had produced sculptures containing simply rendered figures, letters, and signs, inspired by the [[Lower East Side]] neighborhood where he lived, made out of materials such as cardboard, [[burlap]], and newspapers; in 1961, he shifted his method, creating sculptures from [[chicken wire]] covered with plaster-soaked canvas and enamel paint, depicting everyday objects&nbsp;– articles of clothing and food items.<ref>"[https://www.moma.org/interactives/exhibitions/2013/oldenburg/ Claes Oldenburg: On View, Apr 14&nbsp;– Aug 5, 2013]". Museum of Modern Art. moma.org. Sections "Introduction", The Street" and "The Store". Retrieved October&nbsp;23, 2017.</ref> Oldenburg's first show which included three-dimensional works, in May 1959, was at the Judson Gallery, at [[Judson Memorial Church]] on [[Washington Square Park|Washington Square]].<ref>Claes Oldenburg, "Remembering Judson House," New York: Judson Memorial Church, p. 292</ref> 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.<ref name="AAA">{{cite web | author=Paul Cummings | year=1975 | title=Oral history interview with Robert Beauchamp, 1975 Jan. 16 | work=Oral history interview | publisher=[[Archives of American Art]] | url=http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-beauchamp-12997 | access-date=June 30, 2011}}</ref>


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 included artists [[Lucas Samaras]], [[Tom Wesselmann]], [[Carolee Schneemann]], [[Oyvind Fahlstrom]] and [[Richard Artschwager]], art gallerist [[Annina Nosei]], critic [[Barbara Rose]], and screenwriter [[Rudy Wurlitzer]].<ref name="articles.latimes.com"/> His first wife (1960–1970) Patty Mucha<ref>{{Cite web|url=https://observer.com/2012/01/patty-mucha-oldenburg-on-her-archives-01162012/|title=Six Feet of the 1960s and '70s: Patty Mucha—Once Mrs. Olurg—on Her Archives and New Memoir|website=[[The New York Observer]] |date=January 16, 2012}}</ref> (Patricia Muchinski),<ref>{{Cite web|url=http://dlib.nyu.edu/findingaids/html/fales/mucha/bioghist.html|title=Guide to the The[sic] Patty Mucha Papers, 1949 – 2016 MSS.342|website=dlib.nyu.edu}}</ref> who sewed many of his early soft sculptures, was a constant performer in his happenings. His brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, 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 sculhly in the form of consumer goods.<ref name="articles.latimes.com"/>
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 included artists [[Lucas Samaras]], [[Tom Wesselmann]], [[Carolee Schneemann]], [[Oyvind Fahlstrom]] and [[Richard Artschwager]], art gallerist [[Annina Nosei]], critic [[Barbara Rose]], and screenwriter [[Rudy Wurlitzer]].<ref name="Los Angeles Times"/> His first wife (1960–1970) Patty Mucha<ref>{{Cite web|url=https://observer.com/2012/01/patty-mucha-oldenburg-on-her-archives-01162012/|title=Six Feet of the 1960s and '70s: Patty Mucha—Once Mrs. Olurg—on Her Archives and New Memoir|website=[[The New York Observer]] |date=January 16, 2012}}</ref> (Patricia Muchinski),<ref>{{Cite web|url=http://dlib.nyu.edu/findingaids/html/fales/mucha/bioghist.html|title=Guide to the The[sic] Patty Mucha Papers, 1949 – 2016 MSS.342|website=dlib.nyu.edu}}</ref> who sewed many of his early soft sculptures, was a constant performer in his happenings. His brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, 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 sculhly in the form of consumer goods.<ref name="Los Angeles Times"/>


Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York [he] could think of".<ref name="articles.latimes.com"/> 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)<ref>Christopher Knight (August 6, 1995), [http://articles.latimes.com/1995-08-06/entertainment/ca-31913_1_monumental-sculptures The Percolating Mind of Oldenburg : A retrospective shows how ideas from early in a career can cook for decades, before emerging to enshrine the mundane] ''[[Los Angeles Times]]''.</ref> and ''Lipsticks in Piccadilly Circus, London'' (1966).<ref name="moma.org">[http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4397&page_number=&template_id=6&sort_order=1#bio Claes Oldenburg] [[Museum of Modern Art]], New York.</ref> In 1967, New York city cultural adviser [[Samuel Adams Green|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]] in New York City, with a crew of [[gravedigger]]s digging a 6-by-3-foot rectangular hole in the ground.<ref name="Claes Oldenburg"/> In 1969, Oldenberg contributed a drawing to the [[Moon Museum]]. ''Geometric Mouse-Scale A, Black 1/6'', also from 1969, was selected to be part of the [[Empire State Plaza#Art collection|Governor Nelson A. Rockefeller Empire State Plaza Art Collection]] in [[Albany, New York]].<ref>{{Cite web|url=https://empirestateplaza.ny.gov/art/explore-art-collection|title=Explore The Art Collection|website=Visit the Empire State Plaza & New York State Capitol}}</ref>
Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York [he] could think of".<ref name="Los Angeles Times"/> 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)<ref>Christopher Knight (August 6, 1995), [https://www.latimes.com/archives/la-xpm-1995-08-06-ca-31913-story.html The Percolating Mind of Oldenburg : A retrospective shows how ideas from early in a career can cook for decades, before emerging to enshrine the mundane] ''[[Los Angeles Times]]''.</ref> and ''Lipsticks in Piccadilly Circus, London'' (1966).<ref name="moma.org">[http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A4397&page_number=&template_id=6&sort_order=1#bio Claes Oldenburg] [[Museum of Modern Art]], New York.</ref> In 1967, New York city cultural adviser [[Samuel Adams Green|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]] in New York City, with a crew of [[gravedigger]]s digging a 6-by-3-foot rectangular hole in the ground.<ref name="Claes Oldenburg"/> In 1969, Oldenberg contributed a drawing to the [[Moon Museum]]. ''Geometric Mouse-Scale A, Black 1/6'', also from 1969, was selected to be part of the [[Empire State Plaza#Art collection|Governor Nelson A. Rockefeller Empire State Plaza Art Collection]] in [[Albany, New York]].<ref>{{Cite web|url=https://empirestateplaza.ny.gov/art/explore-art-collection|title=Explore The Art Collection|website=Visit the Empire State Plaza & New York State Capitol}}</ref>


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]] at Yale University, and "circulated on a loan basis to other campuses".<ref name=Johnson>{{cite book|last1=Johnson|first1=Ellen H.|title=Claes Oldenburg|date=1971|publisher=Penguin Books|location=Harmondsworth, Middlesex, England|page=46}}</ref> English art critic Ellen H. Johnson says that 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 a sophisticated tradition. In theme, it is both phallic, life-engendering, and a bomb, the harbinger of death. Male in form, it is female in subject".<ref name=Johnson/> One of a number of Oldenburg's sculptures that possess interactive capabilities, it now resides in the [[Morse College]] courtyard.
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]] at Yale University, and "circulated on a loan basis to other campuses".<ref name=Johnson>{{cite book|last1=Johnson|first1=Ellen H.|title=Claes Oldenburg|date=1971|publisher=Penguin Books|location=Harmondsworth, Middlesex, England|page=46}}</ref> English art critic Ellen H. Johnson says that 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 a sophisticated tradition. In theme, it is both phallic, life-engendering, and a bomb, the harbinger of death. Male in form, it is female in subject".<ref name=Johnson/> One of a number of Oldenburg's sculptures that possess interactive capabilities, it now resides in the [[Morse College]] courtyard.
From the early 1970s on, Oldenburg concentrated almost exclusively on public commissions.<ref name="moma.org"/> His first public work, ''Three-Way Plug'' came on commission from [[Oberlin College]] with a grant from the [[National Endowment for the Arts]].<ref>{{cite web|last=Duffes|first=Melissa|title=Oldenburg's First Commissioned Public Sculpture Returns to AMAM|url=http://new.oberlin.edu/home/news-media/press/detail.dot?id=1036051|publisher=Oberlin College|access-date=October 12, 2013}}</ref> His collaboration with Dutch/American writer and art historian [[Coosje van Bruggen]] dates from 1976. They were married in 1977. Oldenburg officially signed all the work he did from 1981 on with both his own name and van Bruggen's.<ref name="articles.latimes.com"/> 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]] in the Netherlands.<ref name="nytimes.com">{{Cite news|last=Kino|first=Carol|date=2009-01-13|title=Coosje van Bruggen, Sculptor, Dies at 66|language=en-US|work=The New York Times|url=https://www.nytimes.com/2009/01/13/arts/13vanbruggen.html|access-date=2023-04-21|issn=0362-4331}}</ref>
From the early 1970s on, Oldenburg concentrated almost exclusively on public commissions.<ref name="moma.org"/> His first public work, ''Three-Way Plug'' came on commission from [[Oberlin College]] with a grant from the [[National Endowment for the Arts]].<ref>{{cite web|last=Duffes|first=Melissa|title=Oldenburg's First Commissioned Public Sculpture Returns to AMAM|url=http://new.oberlin.edu/home/news-media/press/detail.dot?id=1036051|publisher=Oberlin College|access-date=October 12, 2013}}</ref> His collaboration with Dutch/American writer and art historian [[Coosje van Bruggen]] dates from 1976. They were married in 1977. Oldenburg officially signed all the work he did from 1981 on with both his own name and van Bruggen's.<ref name="Los Angeles Times"/> 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]] in the Netherlands.<ref name="nytimes.com">{{Cite news|last=Kino|first=Carol|date=2009-01-13|title=Coosje van Bruggen, Sculptor, Dies at 66|language=en-US|work=The New York Times|url=https://www.nytimes.com/2009/01/13/arts/13vanbruggen.html|access-date=2023-04-21|issn=0362-4331}}</ref>


In 1988, the two created the iconic ''[[Spoonbridge and Cherry]]'' sculpture for the [[Walker Art Center]] in [[Minneapolis]]. It 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 by the duo is the ''[[Willard Park (Cleveland park)#Free Stamp|Free Stamp]]'' in [[downtown Cleveland]].<ref>{{cite web | last1=Roy | first1=Chris | last2=Edmonds | first2=Joe | title =The Free Stamp | work =Cleveland Historical | url =https://clevelandhistorical.org/items/show/571 | access-date =August 10, 2020}}</ref>
In 1988, the two created the iconic ''[[Spoonbridge and Cherry]]'' sculpture for the [[Walker Art Center]] in [[Minneapolis]]. It 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 by the duo is the ''[[Willard Park (Cleveland park)#Free Stamp|Free Stamp]]'' in [[downtown Cleveland]].<ref>{{cite web | last1=Roy | first1=Chris | last2=Edmonds | first2=Joe | title =The Free Stamp | work =Cleveland Historical | url =https://clevelandhistorical.org/items/show/571 | access-date =August 10, 2020}}</ref>


In addition to freestanding projects, they occasionally contributed to architectural projects, among them, two Los Angeles projects in collaboration with architect [[Frank Gehry]]: ''Toppling Ladder With Spilling Paint'', which was installed at [[Loyola Law School]] in 1986, and the building-mounted sculpture ''Giant Binoculars'',<ref name="CO">{{cite web |title=Binoculars |url=http://oldenburgvanbruggen.com/largescaleprojects/binoculars.htm |website=Claus Oldenberg and Coosje VanBruggen |access-date=1 October 2023}}</ref> completed in [[Venice, Los Angeles|Venice Beach]] in 1991.<ref name="articles.latimes.com"/> 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]].<ref>[http://www.margoleavingallery.com/exhibitions/59?artist=61 Claes Oldenburg: Props, Costumes and Designs for the Performance "Il Corso del Coltello", January 9 – February 13, 1988] Margo Leavin Gallery, Los Angeles.</ref> "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 [[Little Tokyo, Los Angeles|Japanese American Cultural & Community Center]] and the exhibition ''Props, Costumes and Designs for the Performance "Il Corso del Coltello"'' at Margo Leavin Gallery.<ref name="articles.latimes.com"/> He collaborated with English director Gerald Fox in 1996 to make a documentary about himself in association with ''[[The South Bank Show]]'' which was broadcast on [[ITV (TV network)|ITV]].<ref>{{Cite web |title=Claes Oldenburg (1996) |url=https://www2.bfi.org.uk/films-tv-people/4ce2b7f55f901 |archive-url=https://web.archive.org/web/20230421150136/https://www2.bfi.org.uk/films-tv-people/4ce2b7f55f901 |url-status=dead |archive-date=April 21, 2023 |access-date=2023-04-21 |publisher=British Film Institute |language=en}}</ref><ref>{{Citation |title=The South Bank Show: Claes Oldenburg (1996) - Gérald Fox {{!}} Synopsis, Characteristics, Moods, Themes and Related {{!}} AllMovie |url=https://www.allmovie.com/movie/the-south-bank-show-claes-oldenburg-vm18882636 |access-date=2023-04-21 |language=en}}</ref>
In addition to freestanding projects, they occasionally contributed to architectural projects, among them, two Los Angeles projects in collaboration with architect [[Frank Gehry]]: ''Toppling Ladder With Spilling Paint'', which was installed at [[Loyola Law School]] in 1986, and the building-mounted sculpture ''Giant Binoculars'',<ref name="CO">{{cite web |title=Binoculars |url=http://oldenburgvanbruggen.com/largescaleprojects/binoculars.htm |website=Claus Oldenberg and Coosje VanBruggen |access-date=1 October 2023}}</ref> completed in [[Venice, Los Angeles|Venice Beach]] in 1991.<ref name="Los Angeles Times"/> 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]].<ref>[http://www.margoleavingallery.com/exhibitions/59?artist=61 Claes Oldenburg: Props, Costumes and Designs for the Performance "Il Corso del Coltello", January 9 – February 13, 1988] Margo Leavin Gallery, Los Angeles.</ref> "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 [[Little Tokyo, Los Angeles|Japanese American Cultural & Community Center]] and the exhibition ''Props, Costumes and Designs for the Performance "Il Corso del Coltello"'' at Margo Leavin Gallery.<ref name="Los Angeles Times"/> He collaborated with English director Gerald Fox in 1996 to make a documentary about himself in association with ''[[The South Bank Show]]'' which was broadcast on [[ITV (TV network)|ITV]].<ref>{{Cite web |title=Claes Oldenburg (1996) |url=https://www2.bfi.org.uk/films-tv-people/4ce2b7f55f901 |archive-url=https://web.archive.org/web/20230421150136/https://www2.bfi.org.uk/films-tv-people/4ce2b7f55f901 |url-status=dead |archive-date=April 21, 2023 |access-date=2023-04-21 |publisher=British Film Institute |language=en}}</ref><ref>{{Citation |title=The South Bank Show: Claes Oldenburg (1996) - Gérald Fox {{!}} Synopsis, Characteristics, Moods, Themes and Related {{!}} AllMovie |url=https://www.allmovie.com/movie/the-south-bank-show-claes-oldenburg-vm18882636 |access-date=2023-04-21 |language=en}}</ref>


The city of [[Milan]], Italy, commissioned the work known as ''[[Needle, Thread and Knot]]'' (Italian: Ago, filo e nodo) which was installed in 2000 in the [[Piazzale Cadorna]].<ref name="in-Lombardia: The Official Tourism Information Site for Lombardy 2021">{{cite web | title=Needle, Thread and Knot in Piazzale Cadorna | website=in-Lombardia: The Official Tourism Information Site for Lombardy | date=June 14, 2021 | url=https://www.in-lombardia.it/en/tourism-in-lombardy/tourism-milan/monuments-milan/needle-thread-and-knot | access-date=July 19, 2022}}</ref> In 2001, Oldenburg and van Bruggen created ''Dropped Cone'', a huge inverted ice cream cone, on top of a shopping center in [[Cologne]], Germany.<ref>{{cite web|url=http://www.oldenburgvanbruggen.com/largescaleprojects/droppedcone.htm |title=Dropped Cone |publisher=Oldenburgvanbruggen.com |access-date=April 29, 2014}}</ref> Installed at the [[Pennsylvania Academy of the Fine Arts]] in 2011, ''Paint Torch'' is a towering {{Convert|53|ft|m|adj=mid|-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.<ref>{{cite web|url=http://www.pafa.org/About/Lenfest-Plaza/Oldenburg-s-Paint-Torch/843/ |title=Oldenburg's Paint Torch &#124; 1805 |publisher=Pafa.org |access-date=April 29, 2014}}</ref> In 2018, ''The Maze'' was included in ''1968: Sparta Dreaming Athens'' at [[Château de Montsoreau-Museum of Contemporary Art]].<ref>{{Cite web|url=https://www.artpremium.com/montsoreau-sparta-dreaming-athens/|title=ArtPremium – 1968 – Sparta Dreaming Athens at Château de Montsoreau-Museum Contemporary Art|last=Sevior|first=Michelle|date=November 7, 2018|website=ArtPremium|language=en-US|access-date=August 10, 2019|archive-date=August 10, 2019|archive-url=https://web.archive.org/web/20190810140554/https://www.artpremium.com/montsoreau-sparta-dreaming-athens/|url-status=dead}}</ref>
The city of [[Milan]], Italy, commissioned the work known as ''[[Needle, Thread and Knot]]'' (Italian: Ago, filo e nodo) which was installed in 2000 in the [[Piazzale Cadorna]].<ref name="in-Lombardia: The Official Tourism Information Site for Lombardy 2021">{{cite web | title=Needle, Thread and Knot in Piazzale Cadorna | website=in-Lombardia: The Official Tourism Information Site for Lombardy | date=June 14, 2021 | url=https://www.in-lombardia.it/en/tourism-in-lombardy/tourism-milan/monuments-milan/needle-thread-and-knot | access-date=July 19, 2022}}</ref> In 2001, Oldenburg and van Bruggen created ''Dropped Cone'', a huge inverted ice cream cone, on top of a shopping center in [[Cologne]], Germany.<ref>{{cite web|url=http://www.oldenburgvanbruggen.com/largescaleprojects/droppedcone.htm |title=Dropped Cone |publisher=Oldenburgvanbruggen.com |access-date=April 29, 2014}}</ref> Installed at the [[Pennsylvania Academy of the Fine Arts]] in 2011, ''Paint Torch'' is a towering {{Convert|53|ft|m|adj=mid|-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.<ref>{{cite web|url=http://www.pafa.org/About/Lenfest-Plaza/Oldenburg-s-Paint-Torch/843/ |title=Oldenburg's Paint Torch &#124; 1805 |publisher=Pafa.org |access-date=April 29, 2014}}</ref> In 2018, ''The Maze'' was included in ''1968: Sparta Dreaming Athens'' at [[Château de Montsoreau-Museum of Contemporary Art]].<ref>{{Cite web|url=https://www.artpremium.com/montsoreau-sparta-dreaming-athens/|title=ArtPremium – 1968 – Sparta Dreaming Athens at Château de Montsoreau-Museum Contemporary Art|last=Sevior|first=Michelle|date=November 7, 2018|website=ArtPremium|language=en-US|access-date=August 10, 2019|archive-date=August 10, 2019|archive-url=https://web.archive.org/web/20190810140554/https://www.artpremium.com/montsoreau-sparta-dreaming-athens/|url-status=dead}}</ref>
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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.<ref name="Carol Kino 2009"/> Van Bruggen and Oldenburg renovated the house, decorating it with modernist pieces by among others [[Le Corbusier]], [[Charles and Ray Eames]], and [[Alvar Aalto]], Frank Gehry, [[Eileen Gray]].<ref>Michael Peppiatt (April 2005), [http://www.architecturaldigest.com/decor/archive/oldenburg_article_042005 The Art of Inspiration – Claes Oldenburg and Coosje van Bruggen Engage the Unexpected in the Loire Valley] ''[[Architectural Digest]]''.</ref> Van Bruggen died on January 10, 2009, from the effects of breast cancer.<ref name="nytimes.com"/>
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.<ref name="Carol Kino 2009"/> Van Bruggen and Oldenburg renovated the house, decorating it with modernist pieces by among others [[Le Corbusier]], [[Charles and Ray Eames]], and [[Alvar Aalto]], Frank Gehry, [[Eileen Gray]].<ref>Michael Peppiatt (April 2005), [http://www.architecturaldigest.com/decor/archive/oldenburg_article_042005 The Art of Inspiration – Claes Oldenburg and Coosje van Bruggen Engage the Unexpected in the Loire Valley] ''[[Architectural Digest]]''.</ref> Van Bruggen died on January 10, 2009, from the effects of breast cancer.<ref name="nytimes.com"/>


Oldenburg's brother, art historian [[Richard E. Oldenburg]], was director of the Museum of Modern Art, New York, between 1972 and 1993,<ref name="articles.latimes.com"/> and later chairman of [[Sotheby's]] America.<ref>{{Cite news|last=Vogel|first=Carol|date=1995-03-17|title=Modern's Ex-Chief Joins Sotheby's|language=en-US|work=The New York Times|url=https://www.nytimes.com/1995/03/17/arts/modern-s-ex-chief-joins-sotheby-s.html|access-date=2023-04-21|issn=0362-4331}}</ref>
Oldenburg's brother, art historian [[Richard E. Oldenburg]], was director of the Museum of Modern Art, New York, between 1972 and 1993,<ref name="Los Angeles Times"/> and later chairman of [[Sotheby's]] America.<ref>{{Cite news|last=Vogel|first=Carol|date=1995-03-17|title=Modern's Ex-Chief Joins Sotheby's|language=en-US|work=The New York Times|url=https://www.nytimes.com/1995/03/17/arts/modern-s-ex-chief-joins-sotheby-s.html|access-date=2023-04-21|issn=0362-4331}}</ref>


On July 18, 2022, Oldenburg died at his home in [[Manhattan]] from complications of a fall, aged 93.<ref>{{cite news|url=https://www.washingtonpost.com/obituaries/2022/07/18/artist-claes-oldenburg-dead/|title=Claes Oldenburg, a whimsical father of pop art, dies at 93|newspaper=[[The Washington Post]]|first=Fred|last=Bernstein|date=July 18, 2022|access-date=July 18, 2022}}</ref>
On July 18, 2022, Oldenburg died at his home in [[Manhattan]] from complications of a fall, aged 93.<ref>{{cite news|url=https://www.washingtonpost.com/obituaries/2022/07/18/artist-claes-oldenburg-dead/|title=Claes Oldenburg, a whimsical father of pop art, dies at 93|newspaper=[[The Washington Post]]|first=Fred|last=Bernstein|date=July 18, 2022|access-date=July 18, 2022}}</ref>

Revision as of 03:30, 14 August 2024

Claes Oldenburg
Oldenburg in 2012
Born(1929-01-28)January 28, 1929
Stockholm, Sweden
DiedJuly 18, 2022(2022-07-18) (aged 93)
New York City, U.S.
Nationality
  • Swedish
  • American (from 1953)
Education
Known forSculpture
Notable workList of public art by Oldenburg and van Bruggen
Movement
Spouses
Patty Mucha
​
​
(m. 1960; div. 1970)​
[2]
​
​
(m. 1977; died 2009)​
PartnerHannah Wilke (1969–1977)
Children2[2]
RelativesRichard Oldenburg (brother)
Awards

Claes Oldenburg (January 28, 1929 – July 18, 2022) was a Swedish-born American sculptor best known for his public art installations, typically featuring 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, who died in 2009; they had been married for 32 years. Oldenburg lived and worked in New York City.

Early life and education

Claes Oldenburg was born on January 28, 1929, in Stockholm,[3] the son of Gösta Oldenburg[4] and his wife Sigrid Elisabeth née Lindforss.[5] 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[6] 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, and for a time worked in the library of the Cooper Union Museum for the Arts of Decoration, where he also took the opportunity to learn more, on his own, about the history of art.[7]

Work

Main article: List of public art by Oldenburg and van Bruggen

Oldenburg's first recorded sales of artworks were[when?] at the 57th Street Art Fair in Chicago, where he sold 5 items for a total price of $25.[8] 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.)[9]

By 1960, Oldenburg had produced sculptures containing simply rendered figures, letters, and signs, inspired by the Lower East Side neighborhood where he lived, made out of materials such as cardboard, burlap, and newspapers; in 1961, he shifted his method, creating sculptures from chicken wire covered with plaster-soaked canvas and enamel paint, depicting everyday objects – articles of clothing and food items.[10] Oldenburg's first show which included three-dimensional works, in May 1959, was at the Judson Gallery, at Judson Memorial Church on Washington Square.[11] 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.[12]

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 included artists Lucas Samaras, Tom Wesselmann, Carolee Schneemann, Oyvind Fahlstrom and Richard Artschwager, art gallerist Annina Nosei, critic Barbara Rose, and screenwriter Rudy Wurlitzer.[9] His first wife (1960–1970) Patty Mucha[13] (Patricia Muchinski),[14] who sewed many of his early soft sculptures, was a constant performer in his happenings. His brash, often humorous, approach to art was at great odds with the prevailing sensibility that, by its nature, 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 sculhly in the form of consumer goods.[9]

Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York [he] could think of".[9] 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)[15] and Lipsticks in Piccadilly Circus, London (1966).[16] 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 in New York City, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground.[6] In 1969, Oldenberg contributed a drawing to the Moon Museum. Geometric Mouse-Scale A, Black 1/6, also from 1969, was selected to be part of the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, New York.[17]

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 at Yale University, and "circulated on a loan basis to other campuses".[18] English art critic Ellen H. Johnson says that 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 a sophisticated tradition. In theme, it is both phallic, life-engendering, and a bomb, the harbinger of death. Male in form, it is female in subject".[18] One of a number of Oldenburg's sculptures that possess interactive capabilities, it now resides in the Morse College courtyard.

From the early 1970s on, Oldenburg concentrated almost exclusively on public commissions.[16] His first public work, Three-Way Plug came on commission from Oberlin College with a grant from the National Endowment for the Arts.[19] His collaboration with Dutch/American writer and art historian Coosje van Bruggen dates from 1976. They were married in 1977. Oldenburg officially signed all the work he did from 1981 on with both his own name and van Bruggen's.[9] 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 in the Netherlands.[20]

In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis. It 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 by the duo is the Free Stamp in downtown Cleveland.[21]

In addition to freestanding projects, they occasionally contributed to architectural projects, among them, two Los Angeles projects in collaboration with architect Frank Gehry: Toppling Ladder With Spilling Paint, which was installed at Loyola Law School in 1986, and the building-mounted sculpture Giant Binoculars,[22] completed in Venice Beach in 1991.[9] 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.[23] "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.[9] He collaborated with English director Gerald Fox in 1996 to make a documentary about himself in association with The South Bank Show which was broadcast on ITV.[24][25]

The city of Milan, Italy, commissioned the work known as Needle, Thread and Knot (Italian: Ago, filo e nodo) which was installed in 2000 in the Piazzale Cadorna.[26] In 2001, Oldenburg and van Bruggen created Dropped Cone, a huge inverted ice cream cone, on top of a shopping center in Cologne, Germany.[27] Installed at the Pennsylvania Academy of the Fine Arts in 2011, Paint Torch is a towering 53-foot-high (16 m) 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.[28] In 2018, The Maze was included in 1968: Sparta Dreaming Athens at Château de Montsoreau-Museum of Contemporary Art.[29]

Exhibitions

Artists Claes Oldenburg and Fay Peck with museum director Jan van der Marck in 1968
Oldenburg in Stedelijk Museum Amsterdam, 1970

Oldenburg's first one-man show, in 1959 at the Judson Gallery in New York, had shown figurative drawings and papier-mâché sculptures.[16] 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; London's Tate Gallery in 1970 (chronicled in a 1970 twin-projection documentary by James Scott called The Great Ice Cream Robbery[30]); and with a retrospective organized by Germano Celant at the Solomon R. Guggenheim Museum,[31] 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.[6]

Oldenburg is represented by the Pace Gallery in New York[32] and Margo Leavin Gallery in Los Angeles.[33]

Recognition

In 1989, Oldenburg won the Wolf Prize in Arts. In 2000, he was awarded the National Medal of Arts.[34] Oldenburg 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 was a member of the American Academy and Institute of Arts and Letters from 1975 on and the American Academy of Arts and Sciences from 1978.[35]

Oldenburg and Coosje van Bruggen together received honorary degrees from the 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 for 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).[35]

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 which allowed him to transform everyday objects into remarkable sculptural forms.[36]

Personal life

Patty Mucha, who was married to Claes Oldenburg from 1960 to 1970, first met him after moving to New York City in 1957 to become an artist. When Oldenburg was painting portraits, Mucha became one of his nude models[37] before becoming his first wife. An Oldenburg drawing of Mucha titled Pat Reading in Bed, Lenox, 1959[38] is in the collection of the Whitney Museum of American Art. She was a collaborator in Oldenburg's happenings by coming up with ideas together, making the costumes together, and was also a performer in the piece, along with collaborating on happenings, she also as well, sewed his famous floor hamburger, ice cream, and cake. Mucha was lead singer in the band The Druds who were a band of artists including Andy Warhol, LaMonte Young, Lucas Samaras, and Walter DeMaria pre-velvet underground.

Between 1969 and 1977, Oldenburg was in a relationship with the feminist artist and sculptor, Hannah Wilke, who died in 1993.[39] 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.[40] The couple were married in 1977.[41]

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.[40] Van Bruggen and Oldenburg renovated the house, decorating it with modernist pieces by among others Le Corbusier, Charles and Ray Eames, and Alvar Aalto, Frank Gehry, Eileen Gray.[42] Van Bruggen died on January 10, 2009, from the effects of breast cancer.[20]

Oldenburg's brother, art historian Richard E. Oldenburg, was director of the Museum of Modern Art, New York, between 1972 and 1993,[9] and later chairman of Sotheby's America.[43]

On July 18, 2022, Oldenburg died at his home in Manhattan from complications of a fall, aged 93.[44]

Art market

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.[45]

The Whitney Museum of American Art currently houses thirty of Oldenburg's works.[46]

See also

General and cited references

  • Axsom, Richard H., Printed Stuff: Prints, Poster, and Ephemera by Claes Oldenburg A Catalogue Raisonne 1958–1996 (Hudson Hills Press: 1997) ISBN 1-55595-123-6
  • Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974) ISBN 0-87982-007-1
  • Gianelli, Ida and Beccaria, Marcella (editors) Claes Oldenburg Coosje van Bruggen: Sculpture by the Way Fundació Joan Miró 2007
  • Haskell, Barbara. Claes Oldenburg, Pasadena, CA: Pasadena Art Museum, 1971
  • Höchdorfer, Achim, Claes Oldenburg: The Sixties (Prestel: US, 2012) ISBN 3-7913-5205-9
  • Johnson, Ellen H. Claes Oldenburg, Penguin Books, (Harmondsworth, Middlesex, England; Baltimore, Maryland, US; Ringwood, Victoria, Australia), 1971
  • Oldenburg, Claes. Log May 1974 – August 1976, Stuttgart: edition hansjorg mayer, 1976 (Two volume boxed set: "Photo Log" and "Press Log")
  • Oldenburg, Claes. Raw Notes: Documents and Scripts of the Performances: Stars, Moveyhouse, Massage, The Typewriter, with annotations by the author. (The Press of the Nova Scotia College of Art and Design: Halifax, 2005) ISBN 0-919616-43-7
  • Thalacker, Donald W. "The Place of Art in the World of Architecture." Chelsea House Publishers, New York, 1980. ISBN 0-87754-098-5
  • Valentin, Eric, Claes Oldenburg, Coosje van Bruggen. Le grotesque contre le sacré, Paris, collection Art et artistes, Gallimard, 2009. ISBN 978-2-07-078627-5
  • Valentin, Eric, Claes Oldenburg et Coosje van Bruggen. La sculpture comme subversion de l'architecture (1981–1997), Dijon, collection Inflexion, Les Presses du réel [fr], 2012 ISBN 978-2-84066-450-5

Citations

  1. ^ James O. Young (2001). Art and Knowledge. New York: Routledge, p. 135.
  2. ^ a b "Claes Oldenburg obituary". The Guardian. July 18, 2022. Retrieved July 19, 2022. Oldenburg was married to Patty Mucha (nee Muchinski) from 1960 until their divorce in 1970, and to Coosje van Bruggen from 1977 until her death. His brother Richard died in 2018. He is survived by his stepdaughter, Maartje, and stepson, Paulus.
  3. ^ "Claes Oldenburg 1929 – 2022".
  4. ^ "Gosta Oldenburg; Retired Diplomat, 98". The New York Times. April 1, 1992. Retrieved April 29, 2014.
  5. ^ "Biografía y obras: Oldenburg, Claes claes-oldenburg". Archived from the original on July 18, 2022.
  6. ^ a b c Claes Oldenburg Archived May 10, 2012, at the Wayback Machine Guggenheim Collection.
  7. ^ "Claes Oldenburg." Encyclopedia of World Biography. Chicago: Fitzroy Dearborn, 1998; later: Gale. Retrieved via Biography in Context database, October 22, 2017.
  8. ^ David McCracken, "The Art Fair That's Been In the Picture the Longest", Chicago Tribune, June 5, 1987, page 3
  9. ^ a b c d e f g h McKenna, Kristine (July 2, 1995). "Art : When Bigger Is Better : Claes Oldenburg has spent the past 35 years blowing up and redefining everyday objects, all in the name of getting art off its pedestal". Los Angeles Times. Retrieved April 21, 2023.
  10. ^ "Claes Oldenburg: On View, Apr 14 – Aug 5, 2013". Museum of Modern Art. moma.org. Sections "Introduction", The Street" and "The Store". Retrieved October 23, 2017.
  11. ^ Claes Oldenburg, "Remembering Judson House," New York: Judson Memorial Church, p. 292
  12. ^ Paul Cummings (1975). "Oral history interview with Robert Beauchamp, 1975 Jan. 16". Oral history interview. Archives of American Art. Retrieved June 30, 2011.
  13. ^ "Six Feet of the 1960s and '70s: Patty Mucha—Once Mrs. Olurg—on Her Archives and New Memoir". The New York Observer. January 16, 2012.
  14. ^ "Guide to the The[sic] Patty Mucha Papers, 1949 – 2016 MSS.342". dlib.nyu.edu.
  15. ^ Christopher Knight (August 6, 1995), The Percolating Mind of Oldenburg : A retrospective shows how ideas from early in a career can cook for decades, before emerging to enshrine the mundane Los Angeles Times.
  16. ^ a b c Claes Oldenburg Museum of Modern Art, New York.
  17. ^ "Explore The Art Collection". Visit the Empire State Plaza & New York State Capitol.
  18. ^ a b Johnson, Ellen H. (1971). Claes Oldenburg. Harmondsworth, Middlesex, England: Penguin Books. p. 46.
  19. ^ Duffes, Melissa. "Oldenburg's First Commissioned Public Sculpture Returns to AMAM". Oberlin College. Retrieved October 12, 2013.
  20. ^ a b Kino, Carol (January 13, 2009). "Coosje van Bruggen, Sculptor, Dies at 66". The New York Times. ISSN 0362-4331. Retrieved April 21, 2023.
  21. ^ Roy, Chris; Edmonds, Joe. "The Free Stamp". Cleveland Historical. Retrieved August 10, 2020.
  22. ^ "Binoculars". Claus Oldenberg and Coosje VanBruggen. Retrieved October 1, 2023.
  23. ^ Claes Oldenburg: Props, Costumes and Designs for the Performance "Il Corso del Coltello", January 9 – February 13, 1988 Margo Leavin Gallery, Los Angeles.
  24. ^ "Claes Oldenburg (1996)". British Film Institute. Archived from the original on April 21, 2023. Retrieved April 21, 2023.
  25. ^ The South Bank Show: Claes Oldenburg (1996) - Gérald Fox | Synopsis, Characteristics, Moods, Themes and Related | AllMovie, retrieved April 21, 2023
  26. ^ "Needle, Thread and Knot in Piazzale Cadorna". in-Lombardia: The Official Tourism Information Site for Lombardy. June 14, 2021. Retrieved July 19, 2022.
  27. ^ "Dropped Cone". Oldenburgvanbruggen.com. Retrieved April 29, 2014.
  28. ^ "Oldenburg's Paint Torch | 1805". Pafa.org. Retrieved April 29, 2014.
  29. ^ Sevior, Michelle (November 7, 2018). "ArtPremium – 1968 – Sparta Dreaming Athens at Château de Montsoreau-Museum Contemporary Art". ArtPremium. Archived from the original on August 10, 2019. Retrieved August 10, 2019.
  30. ^ "Double vision: the joys of twin-projection cinema". British Film Institute. Retrieved December 1, 2015.
  31. ^ Russell, John (March 6, 1995). "ART REVIEW; Oldenburg Again: Whimsy and Latent Humanity". The New York Times. ISSN 0362-4331. Retrieved April 21, 2023.
  32. ^ "Margo Leavin Gallery – Institution". ArtFacts. Retrieved July 19, 2022.
  33. ^ Lifetime Honors – National Medal of Arts Archived March 4, 2010, at the Wayback Machine
  34. ^ a b Oldenburg Biography Pennsylvania Academy of the Fine Arts, Philadelphia.
  35. ^ "Tacita Dean: Five Americans". newmuseum.org. Retrieved April 21, 2023.
  36. ^ "Patty [Oldenberg] Mucha Archive | Granary Books". granarybooks.com. Archived from the original on May 10, 2020. Retrieved July 19, 2020.
  37. ^ "Claes Oldenburg | Pat Reading in Bed, Lenox". Whitney Museum of American Art. Retrieved July 19, 2020.
  38. ^ Nancy Princenthal, Hannah Wilke, Prestel Publishing, New York
  39. ^ a b Kino, Carol (May 15, 2009). "Going Softly Into a Parallel Universe". The New York Times. ISSN 0362-4331. Retrieved April 21, 2023.
  40. ^ "Claes Oldenburg & Coosje van Bruggen: Biographies". OldenburgVanBruggen.com. Retrieved April 13, 2011.
  41. ^ Michael Peppiatt (April 2005), The Art of Inspiration – Claes Oldenburg and Coosje van Bruggen Engage the Unexpected in the Loire Valley Architectural Digest.
  42. ^ Vogel, Carol (March 17, 1995). "Modern's Ex-Chief Joins Sotheby's". The New York Times. ISSN 0362-4331. Retrieved April 21, 2023.
  43. ^ Bernstein, Fred (July 18, 2022). "Claes Oldenburg, a whimsical father of pop art, dies at 93". The Washington Post. Retrieved July 18, 2022.
  44. ^ Claes Oldenburg, Typewriter Eraser (1976) Christie's Post War with the Contemporary Evening Sale, April 20, 1969.
  45. ^ "Claes Oldenburg". Whitney Museum of American Art. Retrieved June 2, 2023.
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