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
Three-Way Plug Oberlin, OH
艺术家
Claes Oldenburg:
奥尔登伯格
B. 1929, STOCKHOLM, SWEDEN; D. 2022
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。”
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
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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