Oldenburg has also received honorary degrees from , Ohio, in 1970; , Illinois, in 1979; , New York, in 1995; and , London, in 1996, as well as the following awards: Brandeis University Sculpture Award, 1971; , 1972; Art Institute of Chicago, First Prize Sculpture Award, 72nd American Exhibition, 1976; Medal, , 1977; Wilhelm-Lehmbruck Prize for Sculpture, Duisburg, Germany, 1981; Brandeis University Creative Arts Award for Lifetime Artistic Achievement, The Jack I. While his work has continued to grow in scale and ambition, his focus has remained steadfast: everyday items are presented on a magnified scale that reverses the traditional relationship between viewer and object. The theme and form of musical instruments proved ideal for exploring physical and material transformations and the resulting shifts in meaning. In 2002 the in New York held a retrospective of the drawings of Oldenburg and Van Bruggen; the same year, the in New York exhibited a selection of their sculptures on the roof of the museum. One of the most innovative artists of the postwar period, Claes Oldenburg b.
Further Reading on Claes Oldenburg Barbara Rose's Claes Oldenburg 1970 , a comprehensive monograph about Oldenburg was prepared in conjunction with the 1969 retrospective exhibition of Oldenburg's work at the Museum of Modern Art in New York. They became an artist by studying at Yale University, in 1946-50, and then returned to Chicago, where he took courses at the Art Institute of Chicago under the direction of Paul Wieghardt in 1950-54. A whole lingerie counter with a mirrored top. They used this because in his soft sculptures he wanted to make it looks as if some gravitational force was pulling the structure down. Among the well-known examples of his work in this mode were Soft Light Switches 1964 in the collection of the William Rockhill Nelson Gallery of Art, Kansas City, and Giant Soft Fan 1966-1967 , a piece which was displayed in the American Pavilion at Expo '67 and was later in the Museum of Modern Art.
The piece was untitled when he made it but is now referred to as Sausage. The diagonal tilt of the piece adds forward thrust, linking its two sections and heightening the implicit eroticism of the phallic form, injecting a note of wry, irreverent humor typical of Oldenburg's refusal to take seriously any form of authority, even or perhaps especially the authority of art. His involvement in happenings in the early 1960s resulted from his interest in both participatory art and Freudian free association. He also opened his own studio and, in 1953, became a of the United States. The process of fine tuning and adjustment, typical of his approach to large-scale commissions, reflects an unwavering interest in the impact of form that aligns him with earlier masters in the tradition of sculpture, from Michelangelo to Brancusi. A Surrealist element arises from the dramatic shift in scale. Free Stamp 1985-91 Willard Park, Cleveland.
Oldenburg's first New York exhibition took place in late 1958, when a selection of his drawings was included in a group show at Red Grooms' City Gallery. For example, the 1969 , was removed from its original place in at , and circulated on a loan basis to other campuses. Awards of their collaboration include the Distinction in Sculpture, , New York 1994 ; Nathaniel S. Both Ray Gun and Soft Drainpipe may be seen as phallic symbols. My work is going to get old soon enough. Philosophically, Oldenburg saw himself as a Realist, and his work was a social commentary on popular American culture. Other artists associated with Pop Art include 1923-97 , b.
He wanted to change the traditional street sculpture of war memorials and statues of people to huge sculptures of spoons, peeled bananas and hamburgers. Never in the history of the Art Gallery has one cent of tax money ever been spent on the purchase of a work of art. Here he created gigantic colourful sculptures of lipsticks, toothpaste, toothbrushes, half eaten apples, upturned ice-cream cones and slices of cake made from vinyl and cloth. Succulent slices of pie and cake. He worked in a variety of modes, including drawing, painting, film, soft sculpture, and large scale sculpture in steel.
For a time he worked as an assistant in the Cooper Union Museum's library, taking advantage of the opportunity to teach himself more about the history of art. Another theme in his work is versions of everyday objects. It was inspired by tribal art, comics, graffiti, children's drawings, and the artwork of Jean Dubuffet. Le grotesque contre le sacré, Paris, collection Art et artistes, , 2009. 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. This endeavor helped him to shape his approach to art. But Oldenburg's spirited art found first a niche then a great popularity that endures to this day.
In 1995 the National Gallery of Art and the Guggenheim Museum organised a travelling exhibition of his works which travelled to Los Angeles, Bonn and London. Oldenburg and his second wife, Coosje van Bruggen, met in 1970 when Oldenburg's first major retrospective traveled to the in Amsterdam, where van Bruggen was a curator. I am for an art that flaps like a flag, or helps blow noses, like a handkerchief. Soft Toilet belongs to a series of straightforwardly representational forms generated by the artist during this period - sandwiches, egg beaters, toasters, and other mundane household items - roughly to scale and comprised of parts that fit together, much like the actual household objects themselves, with one glaring inconsistency. Profoundly democratic in its overarching message, like the best of Oldenburg's work, Clothespin is no mere Pop witticism, but a celebration of the role of design in everyday life. And in the spirit of the surrealists, he switched around the usual sensations, so things soft, he made hard, or the other way around a muslin-and plaster roast of beef, a saggy portable typewriter ; while things smooth, he turned furry ice-cream lollies made of fake-fur and so on.
The notion of enlarging a diminutive, everyday object and placing it in a landscape - an idea integral to Oldenburg's monumental public art - comes to us from the Surrealists such as Magritte, Dalí, and Ernst. Like portraits, but without the human figure, the magic of Oldenburg's sculpture is the expressive element he imparts to it. Despite their simplicity, Floor Burger, Floor Cake, and Floor Cone were groundbreaking artworks. In 1959 he had his first public one-man show in New York — an exhibit of drawings and sculpture at the Judson Gallery. For more about contemporary sculpture, see:. Without presupposing a specific level of education or familiarity with the history of art or sculpture, Clothespin asks us to consider the manner in which small innovations in design transform the way we live. In an exhibition-catalog entry in 1961, Oldenburg made a famous manifesto: I am for the art that a kid licks, after peeling away the wrapper.