Claes Oldenburg

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.

Claes Oldenburg was born on January 28, 1929, in Stockholm, the son of Gösta Oldenburg and his wife Sigrid Elisabeth née Lindforss. 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 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.

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. 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.)

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. Oldenburg's first show which included three-dimensional works, in May 1959, was at the Judson Gallery, at Judson Memorial Church on Washington Square. 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 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. His first wife (1960–1970) Patty Mucha (Patricia Muchinski), 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 sculptures in the form of consumer goods.

Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York [he] could think of". 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) and Lipsticks in Piccadilly Circus, London (1966). 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. 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.

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". 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". 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. His first public work, Three-Way Plug came on commission from Oberlin College with a grant from the National Endowment for the Arts. His collaboration with Dutch/American writer and art historian Coosje van Bruggen dates from 1976. They were married in 1977, and continued to work collaboratively for 30 years, developing over 40 public pieces, which they called ‘large-scale projects’. Oldenburg officially signed all the work he did from 1981 on with both his own name and van Bruggen's. 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.