Looking for buried history in the ruins of time

奥尔登伯格 -我们怎样看待周围熟悉物品‍‍‍‍

想象力和选择性的变幻

让我们重新认知

Shuttlecocks

Kansas City, MO

© Claes Oldenburg

艺术家 Claes Oldenburg 

Three-Way Plug  Oberlin, OH


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艺术家·ARTIST/©Claes Oldenburg ‍‍‍‍‍‍‍‍‍‍‍
发行推广·LSSUANCE OF PROMOTION/©AN ART MUSEUM

艺术家

Claes Oldenburg

奥尔登伯格

B. 1929, STOCKHOLM, SWEDEN; D. 2022

Claes Oldenburg (born January 28, 1929, Stockholm, Sweden—died July 18, 2022, New York, New York, U.S.) .他被称为雕塑纪念碑之王,1929年,Claes Oldenburg 出生在斯德哥尔摩,2022年7月去世。他的父亲是一名外交官,在1936年定居芝加哥之前,全家生活在美国和挪威。1946年至1950年,奥尔登伯格在耶鲁大学学习文学和艺术史。20世纪50年代初,他回到中西部,在芝加哥艺术学院学习,师从画家保罗·维格哈特(Paul Wieghardt)。早年在艺术学校读书时,奥尔登伯格曾在芝加哥城市新闻社(City News Bureau of Chicago)工作,其中一项职责就是画连环漫画。可以说,他是唯一一名与波普艺术相关的专业漫画画家。

Claes Oldenburg 之所以这么出名,主要是因为他做的室外公共雕塑。当波普艺术家还热衷于二维创作的时候,Oldenburg已经开始把波普艺术发展到了三维的立体空间。他把生活中的小物件做成巨大的装置,放在公共区域,总能使看到它们的人产生错觉——自己缩小了。的确,这些带有超现实主义特征的作品出现在美国城市的大街小巷,公园,甚至楼顶上,让人产生错位感,也让人们重新思考自己所处的位置,相对于城市、社会,相对于大自然。

1962年,他将自己的工作室改名为“射线枪剧院”(Ray Gun Theater),并在周末举行演出。1965年,他租下了一家健身俱乐部的游泳池,举办了一场名为“洗洗”(washing)的活动,活动中有彩色气球和漂浮在泳池中的人。二十年后,奥尔登伯格仍然把艺术和戏剧结合在一起。1985年,他与荷兰作家兼策展人库斯杰·范·布鲁根(Coosje van Bruggen)和建筑师弗兰克·盖里(Frank Gehry)合作,在威尼斯筹划了一处名为“刀的历程”(the Course of the Knife)的精心设计的水陆景观,中心装饰是一艘形状像瑞士军刀的船。

艺术家 傅丹

Untitled

Spoonbridge and Cherry’ 

Danh Vo,1988

Spoonbridge and Cherry  Minneapolis, MN

Shuttlecocks Kansas City, MO

他是1950年代和60年代纽约艺术界的关键人物,与安迪·沃霍尔(Andy Warhol)和罗伊·利希滕斯坦(Roy Lichtenstein)等艺术家一同是波普艺术运动的权威人物。他曾以日常用品的不朽雕塑而闻名,用汉堡包和家庭用品等普通物品为原型,将它们雕刻成令人印象深刻的“巨型纪念碑”。

Big Sweep Denver, CO

‘Saw, Sawing’  1996 ©

Eistüte, 2005 ©

‘Dropped Cone’ (2001)

‘Bottle of Notes’ (1993)

‘Binoculars’ (1991)

Typewriter Eraser Las Vegas, NV

Typewriter Eraser Washington, DC

Safety Pin New Orleans, LA

Clothespin Philadelphia, PA

Binoculars Venice, CA

Rubber Stamp  Cleveland, OH

Balancing Tools, 1984 ©

HandkerchiefKansas City, MO

Bow and Arrow  San Francisco, CA

Hats in Three Stages of LandingSalinas, CA


奥尔登伯格‍‍‍

Claes Oldenburg

1962年,Claes Oldenburg发明了软雕塑的概念。这仍然是关于日常物品的占有,而是通过使用柔性涂层来扩大和塑造,就像乙烯基或画布一样。

奥尔登伯格深受法国艺术家让·杜布菲(Jean Dubuffet)的影响,杜布菲将所谓的“局外人艺术”引入美术馆和博物馆,颠覆了制度艺术的现状。但和许多波普艺术家一样,奥尔登伯格也从马塞尔·杜尚(Marcel Duchamp)那里获得灵感,杜尚曾在20世纪初创作现成雕塑,即普通的、大规模生产的物品,如一个自行车轮子、一个小便池等。

虽然奥尔登伯格的作品最常与20世纪60年代的波普艺术联系在一起,但在他看来,他的普通物品的不朽版本不仅仅是对世俗事物的提升。他认为:“所有这些物品都可以做成一个目录,就像是我们当代神话思维投射到的神灵或事物。我们确实在我们的物品上投入了宗教情感。看看,星期天报纸上的广告描绘得多么漂亮。”他曾表示:“我的意图是制作一种逃避定义的日常物品。我一直在与人有关的物体中表达自己,而不是通过人来表达。”

Soft Pay-Telephone

软体雕塑

{ Composite material }

Claes Oldenburg was born in 1929, in Stockholm. His father was a diplomat, and the family lived in the United States and Norway before settling in Chicago in 1936. Oldenburg studied literature and art history at Yale University, New Haven, from 1946 to 1950. He subsequently studied art under Paul Wieghardt at the Art Institute of Chicago from 1950 to 1954. During the first two years of art school, he also worked as an apprentice reporter at the City News Bureau of Chicago, and afterward opened a studio, where he made magazine illustrations and easel paintings. Oldenburg became an American citizen in December 1953.

Freighter and Sailboat

软体雕塑

In 1956 he moved to New York and met several artists making early Performance work, including George Brecht, Allan Kaprow, George Segal, and Robert Whitman. Oldenburg soon became a prominent figure in Happenings and Performance art during the late 1950s and early 1960s. In 1959 the Judson Gallery exhibited a series of Oldenburg’s enigmatic images, ranging from monstrous human figures to everyday objects, made from a mix of drawings, collages, and papier-mâché. In 1961, he opened The Store in his studio, where he recreated the environment of neighborhood shops. He displayed familiar objects made out of plaster, reflecting American society’s celebration of consumption, and was soon heralded as a Pop artist with the emergence of the movement in 1962.

Oldenburg realized his first outdoor public monument in 1967; 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. Beginning in the mid-1960s, he also proposed colossal art projects for several cities, and by 1969, his first such iconic work, Lipstick (Ascending) on Caterpillar Tracks, was installed at Yale University. Most of his large-scale projects were made with the collaboration of Coosje van Bruggen, whom he married in 1977. In the mid-1970s and again in the 1990s, Oldenburg and Van Bruggen collaborated with the architect Frank Gehry, breaking the boundaries between architecture and sculpture. In 1991 Oldenburg and Van Bruggen executed a binocular-shaped sculpture-building as part of Gehry’s Chiat/Day building in Los Angeles.

Floor Cake, 1962

Canvas filled with foam rubber and cardboard boxes, painted with synthetic

1.48 x 2.9 x 1.48 m

Courtesy MoMa, New York; gift of Philip Johnson, 1975

© Claes Oldenburg

Claes Oldenburg

Mug, 1960

Cardboard and wood, painted with casein and spray enamel

193 x 127 cm

© Claes Oldenburg

Over the past three decades, Oldenburg’s works have been the subject of numerous performances and exhibitions. In 1985 Il Corso del Coltello was performed in Venice. It included Knife Ship I, a giant Swiss Army knife equipped with oars; for the performance, the ship was set afloat in front of the Arsenal in an attempt to combine art, architecture, and theater. Knife Ship I traveled to museums throughout America and Europe from 1986 to 1988. Oldenburg was honored with a solo exhibition of his work at the Museum of Modern Art, New York, in 1969, and with a retrospective organized by the National Gallery of Art, Washington, D.C., and the Solomon R. Guggenheim Museum, New York, in 1995. 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. Oldenburg lives and works in New York, California, and a chateau in the Loire Valley, France.

Floor Burger (Giant Hamburger)

Date: 1962

Style: Pop Art

Pastry Case I, 1961–62

Painted plaster sculptures on ceramic plates, metal platter and cups in glass-and-metal case

52.7 x 76.5 x 37.3 cm

Courtesy MoMa, New York / The Sidney and Harriet Janis Collection, 1967

© Claes Oldenburg




Barque-couteau I (Knife Ship I), 1985. Bois recouvert de vinyle, acier et aluminium, avec des moteurs ; dimensions variables, hauteur maximum : 966 x 1232 x 960 cm. 


1960年的 Lower Eastside
2010
Gold leaf on unfolded cardboard box
28 15/16 × 51 3/4 in. (73.5 × 131.5 cm)
© Danh Vo



Untitled
2020
Thirteen mild steel stars and wood logs
402 3/4 × 211 13/16 in. (1023 × 538 cm)

Floor Cake show   ©  Claes Oldenburg    Date: 1962  MOMA

Floor Cone

Claes Oldenburg

Date: 1962

Style: Pop Art

Genre: sculpture

Two Cheeseburgers, with Everything (Dual Hamburgers)

Claes Oldenburg

Date: 1962

Style: Pop Art

Genre: sculpture


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