How many sculptures did claes oldenburg make

The piece was untitled when he made it but is now referred to as Sausage. By 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 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.

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. In the s 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".

His first wife — 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 , 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.

Article Wikipedia article References Wikipedia article. Wikipedia: en. Claes Oldenburg Artworks. Pastry Case Claes Oldenburg Floor Cake Claes Oldenburg 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.

Claes Oldenburg, Coosje Van Bruggen. Ben Davis January 25, How many public art sculptures has Claes Oldenburg built? How does Oldenburg use scale in his sculptures? How many sculptures did Oldenburg make? What did Claes Oldenburg sculpture? What influenced Claes Oldenburg work? Where does Claes Oldenburg live and work?

Where is the cherry on the spoon? Can you walk on the Spoonbridge and Cherry? What does the cherry on a spoon represent? 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 [].