DOCSLIB.ORG

Claes Oldenburg 1 Claes Oldenburg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Claes Oldenburg 1 Claes Oldenburg Claes Oldenburg 1 Claes Oldenburg Claes Oldenburg Birth name Claes Oldenburg Born January 28, 1929Stockholm, Sweden Nationality Swedish-American Field Sculpture, Public Art Training Latin School of Chicago, Art Institute of Chicago, Yale University Movement Pop Art Claes Oldenburg (born January 28, 1929) is a Swedish sculptor, best known for his public art installations typically featuring very large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects. Biography Claes Oldenburg was born in Stockholm, Sweden, the son of a Swedish diplomat stationed in New York. In 1936 his father was transferred to Chicago where Oldenburg grew up, attending the Latin School of Chicago. He studied 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. His first recorded sales of artworks were at the 57th Street Art Fair in Chicago, where he sold 5 items for a total price of $25.[1] 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. Claes Oldenburg, Soft Bathtub (Model)—Ghost Version 1966, acrylic and pencil on foam-filled The most memorable aspects of Oldenburg's works are perhaps, the canvas with wood, cord, and plaster. Hirshhorn colossal sculptures that he has made in partnership with his late wife, Museum, Washington, DC Coosje van Bruggen. Sculptures, though quite large, often have interactive capabilities. One such interactive early sculpture was a soft sculpture of a tube of lipstick which would deflate unless a participant re-pumped air into it. In 1974, this sculpture, Lipstick (Ascending) on Caterpillar Tracks, was redesigned in a sturdier aluminum form, the giant lipstick being placed vertically atop tank treads. Originally installed in Beinecke Plaza at Yale, it now resides in the Morse College courtyard. Many of Oldenburg's large-scale sculptures of mundane objects elicited public ridicule before being embraced as whimsical, insightful, and fun additions to public outdoor art. In the 1960s he 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 -(1960–1970) Pat Muschinski who Claes Oldenburg 2 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. Between 1969 and 1977, Oldenburg was in a relationship with the feminist artist and sculptor, Hannah Wilke, who died in 1993.[2] They shared several studios and traveled together, and Wilke often photographed him. Oldenburg's collaboration with Dutch/American writer and art historian Coosje van Bruggen dates from 1976. They were married in 1977.[3] In 1988, he and van Bruggen created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis, Minnesota that remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. In addition to freestanding projects, they occasionally contribute to architectural projects, most notably the former Chiat/Day advertising agency headquarters designed by Frank O. Gehry in the Venice district of Los Angeles, California—the main entrance is a pair of giant binoculars. The advertising agency DDB is the current tenant. Another well known construction is the Free Stamp in downtown Cleveland, Ohio. This Free Stamp has an energetic cult following. In 2000, he was awarded the National Medal of Arts.[4] In 2001, Oldenburg and van Bruggen created 'Dropped Cone', a huge inverted ice cream cone, on top of a shopping center in Cologne, Germany.[5] His wife died on January 10, 2009 from the effects of breast cancer. Claes Oldenburg supposedly has a work of art on the moon in the Moon Museum. Claes Oldenburg is represented by The Pace Gallery in New York. Gallery Typewriter Free Stamp, outside City Hall in Crusoe Umbrella by Clothespin by Eraser, Scale X, Cleveland, Ohio. Claes Claes Oldenburg and Claes by Claes Oldenburg and Coosje van Coosje van Bruggen, Oldenburg, Oldenburg and Bruggen, Painted steel-plate 1979, Cor-Ten steel 1976. Public art Coosje van 1985 (unveiled in 1991). painted with displayed near Bruggen polyurethane enamel. Philadelphia 1999, painted Public art located in City Hall in stainless steel Nollen Plaza, Des Philadelphia. and Fiberglas Moines, Iowa. The form of the National Gallery sculpture is a of Art, visual pun Washington, referencing the DC. tower of City Hall. Claes Oldenburg 3 Spring by Claes Oldengurg in The Bottle of Notes Dropped Cone Pencil signature of Claes Cheonggyecheon, Seoul, Korea sculpture in by Claes Oldenburg from 1990. Middlesbrough UK. Oldenburg and Coosje van Bruggen, 2001. Situated on top of a shopping centre in the Neumarkt area of Cologne, Germany. Books • Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974) ISBN 0-87982-007-1 • Axsom, Richard H., Printed Stuff: Prints, Poster, and Ephemera by Claes Oldenburg A Catalogue Raisonne 1958–1996 (Hudson Hills Press: 1997) ISBN 1-555951-23-6 • Oldenburg, Claes Raw Notes: Documents and Scripts of the Performances: Stars, Moveyhouse, Massage, The Typewriter, with annotations by the author. (The Press of the Nova Scotia College of Art and Design: Halifax, 2005) ISBN 0-919616-43-7 • Gianelli, Ida and Beccaria, Marcella (editors) Claes Oldenburg Coosje van Bruggen: Sculpture by the Way Fundació Joan Miró 2007 • Valentin, Eric, Claes Oldenburg, Coosje van Bruggen. Le grotesque contre le sacré, Paris, collection Art et artistes, Gallimard, 2009. ISBN 978-2-07-078627-5 References [1] David McCracken, "The Art Fair That's Been In the Picture the Longest", Chicago Tribune, June 5th, 1987, page 3 [2] Nancy Princenthal, Hannah Wilke, Prestel Publishing, New York [3] "Claes Oldenburg & Coosje van Bruggen: Biographies" (http:/ / oldenburgvanbruggen. com/ biography/ bios-individual. htm). OldenburgVanBruggen.com. Retrieved 13 April 2011. [4] Lifetime Honors – National Medal of Arts (http:/ / www. nea. gov/ honors/ medals/ medalists_year. html#00) [5] http:/ / www. oldenburgvanbruggen. com/ largescaleprojects/ droppedcone. htm Dropped Cone External links • Claes Oldenburg and Coosje van Bruggen's website (http:/ / www. oldenburgvanbruggen. com/ ) • The Pace Gallery (http:/ / thepacegallery. com) • Claes Oldenburg (http:/ / www. moma. org/ collection/ artist. php?artist_id=4397) at the Museum of Modern Art • Oldenburg page at the Guggenheim Museum site (http:/ / www. guggenheimcollection. org/ site/ artist_bio_121. html) • An anthology of Oldenburg's work, includes brief bio (http:/ / artnetweb. com/ oldenburg/ index. html) • National Gallery of Art Claes Oldenburg: Making the Ordinary Extraordinary (http:/ / www. nga. gov/ education/ schoolarts/ oldenburg. htm) Claes Oldenburg 4 • Pop Art Masters – Claes Oldenburg (http:/ / www. popartmasters. com/ toc. html#masters) • Biography of Claes Oldenburg (http:/ / www. artinfo. com/ artists/ profile/ biography/ 286/ claes-oldenburg/ ) • (http:/ / www. visual-arts-cork. com/ sculpture/ claes-oldenburg. htm) Article Sources and Contributors 5 Article Sources and Contributors Claes Oldenburg Source: http://en.wikipedia.org/w/index.php?oldid=426721215 Contributors: ABF, ALadinN, Abutorsam007, Adashiel, Addshore, Aillema, Aitias, Alansohn, AlexGWU, Ande B., Anna512, Antique Rose, Antonio Lopez, Artemis-Arethusa, Avjoska, Avogadro94, Benkaye99, BillFlis, Boberger, Bobo192, Bquazz, Brianga, Bryanbrudunday, Bus stop, Calliopejen1, Caltas, Camdaman13, Can't sleep, clown will eat me, Capricorn42, Casperruegg, Cbernasc, Cbustapeck, Clarince63, CommonsDelinker, Cosprings, Cow heaven, Crohnie, CzarB, D6, DARTH SIDIOUS 2, Daverocks, Deepfriedmario, Discospinster, Doulos Christos, Drszucker, Dureo, EdBever, Egmontaz, Emerson7, Epbr123, Eric-Wester, Ethicoaestheticist, EurekaLott, Ferraridriver101, Flopy, Found5dollar, Fredde 99, Gakusha, Gamaliel, Gfoley4, Ghrimdevil, Goodvac, Gurch, Hades The Devourer, HaeB, Hans Dunkelberg, Hauganm, Hello32020, Hidrugarn, Honky72, Hughsonj, Hullaballoo Wolfowitz, IRP, Ii oDDsOcKs x, It Is Me Here, J.delanoy, JNW, JPLei, JVinocur, Jac16888, Jammycaketin, Jauerback, Jeff G., Jennavecia, Jeroenl, Joey80, JohnCD, Jojhutton, JorgeGG, Joseph Solis in Australia, Jusdafax, Keilana, Kingpin13, Kjhughes, Kukini, L Kensington, LassenLass, LeaveSleaves, Lightdarkness, Little Mountain 5, Locos epraix, Lokifer, Lord Pistachio, Lyght, Mandarax, Marek69, Margarethopkins, Martin451, MarylandArtLover, MasterNetHead, Materialscientist, Maxbeck, Me1002, Meaghan, MesserWoland, Mic, Michael David, MikaCrystacia, Mike Rosoft, Mirandaferd, Modernist, Morganfitzp, MrBibichon, MuZemike, Mumia-w-18, NawlinWiki, Nejandashmun, Nemesis of Reason, Netsnipe, Nez202, OlenWhitaker, OohBunnies!, PDH, Patstuart, Pbryant,
Load more

Recommended publications
  • KAWS Media Release
    KAWS Media release 6 February–12 June 2016 Longside Gallery and open air Yorkshire Sculpture Park (YSP) presents the first UK museum exhibition by KAWS, the renowned American artist, whose practice includes painting, sculpture, printmaking and design. The exhibition, in the expansive Longside Gallery and open air, features over 20 works: commanding sculptures in bronze, fibreglass, aluminium and wood alongside large, bright canvases immaculately rendered in acrylic paint – some created especially for the exhibition. The Park’s historically designed landscape becomes home to a series of monumental and imposing sculptures, including a new six-metre-tall work, which take KAWS’s idiosyncratic form of almost-recognisable characters in the process of growing up. Brooklyn-based KAWS is considered one of the most relevant artists of his generation. His influential work engages people across the generations with contemporary art and especially opens popular culture to young and diverse audiences. A dynamic cultural force across art, music and fashion, KAWS’s work possesses a wry humour with a singular vernacular marked by bold gestures and fastidious production. In the 1990s, KAWS conceived the soft skull with crossbones and crossed-out eyes which would become his signature iconography, subverting and abstracting cartoon figures. He stands within an art historical trajectory that includes artists such as Claes Oldenburg and Jeff Koons, developing a practice that merges fine art and merchandising with a desire to communicate within the public realm. Initially through collaborations with global brands, and then in his own right, KAWS has moved beyond the sphere of the art market to occupy a unique position of international appeal.
    [Show full text]
  • Annual Report 1995
    19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
    [Show full text]
  • APR MAY JUN 2020 at 515.271.0336 Or [email protected] JUNE 13 – SEPTEMBER 13, 2020 ANNA K
    APR MAY JUN 2020 DESMOINESARTCENTER.ORG | 1 FROM THE DIRECTOR t’s finally spring and there is a lot of activity with Urban Experience and the artist Jordan at the Art Center in anticipation of warmer, Weber to present art activities for Des Moines’ I sunnier days. I am looking forward to many Juneteenth celebration. These are just a few exciting events. These include a lecture with of the many offerings available for the entire the scholar and newly appointed curator at community at the Art Center. The Metropolitan Museum of Art, Denise Murrell; After many months of listening and a performance of Morton Feldman’s musical deliberating in multiple gatherings of staff, arrangement for Philip Guston in the galleries trustees, and the community, I am pleased to performed near our painting Friend – To M.F., announce the roll out of the Art Center’s new 1978, by Guston; Member Sundae on the front strategic plan. This blueprint will carry the lawn of the Art Center; an exhibition of Justin Art Center through the next three years, utilizing Favela’s artwork as well as a community fiesta three core tenets. They are: 1) evaluate and hosted by the artist and members of his family; enrich the quality of experiences that the and the showing of Jeffrey Wolf’s new film, Bill Art Center provides; 2) reaffirm the Art Center’s Traylor: Chasing Ghosts, to name a few. We will commitment to the community; and 3) optimize also host the Latino Film Festival in mid-April. and enhance internal culture. Two of these are More information will be forthcoming.
    [Show full text]
  • Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019
    Smithsonian American Art Museum February 11, 2019 Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019 Artists Respond: A Symposium: March 15, 9am–5:30pm Smithsonian American Art Museum Eighth and F Streets N.W. Washington, D.C. 20004 USA Hours: Monday–Sunday 11:30am– 7pm T +1 202 633 1000 Americanart.si.edu Martha Rosler, Red Stripe Kitchen, from the series "House Beautiful: Bringing the War Home," ca. 1967-72. Photomontage, Art Institute of Chicago, through prior gift of Adeline Yates. © Martha Rosler. Courtesy of the artist and Mitchell-Innes & Nash, New By the late 1960s, the United States was in pitched conflict both in Vietnam, against a foreign power, and at home—between Americans for and against the war, for and against the status quo. Artists Respond: American Art and the Vietnam War, 1965–1975 presents art created amid this turmoil, spanning the period from President Lyndon B. Johnson’s fateful https://www.e-flux.com/announcements/244630/artists-respond-american-art-and-the-vietnam-war-1965-1975/ decision to deploy U.S. ground troops to South Vietnam in 1965 to the fall of Saigon ten years later. The first national museum exhibition to examine the contemporary impact of the Vietnam War on American art, Artists Respond brings together nearly 100 works by 58 of the most visionary and provocative artists of the period. Galvanized by the moral urgency of the Vietnam War, these artists reimagined the goals and uses of art, affecting developments in multiple movements and media: painting, sculpture, printmaking, performance, installation, documentary art, and conceptualism.
    [Show full text]
  • Dick Polich in Art History
    ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship.
    [Show full text]
  • Ellsworth Kelly and Andy Warhol Lead Swann Galleries' November
    FOR IMMEDIATE RELEASE Contact: Alexandra Nelson October 25, 2016 Communications Director 212-254-4710 ext. 19 [email protected] Ellsworth Kelly and Andy Warhol Lead Swann Galleries’ November Contemporary Art Auction New York— On Tuesday, November 15, Swann Galleries will hold an auction of Contemporary Art, featuring works by Chuck Close, Christo, Richard Diebenkorn, Claes Oldenburg and Cy Twombly, among others. Prime works by Pop Art king Andy Warhol include the iconic 1964 screenprint of Elizabeth Taylor, aptly titled Liz, as well as the screenprint Campbell’s Soup I: Green Pea, 1968 ($30,000 to $50,000 and $15,000 to $20,000, respectively). Also available is a sheet of sixty unpeeled Banana Stickers (The Velvet Underground & Nico), 1967, the largest amount of intact stickers related to the landmark collaboration between Warhol and The Velvet Underground ever seen at auction, estimated to sell between $8,000 to $12,000. Abstract Expressionist masters are well represented. An excellent work from Robert Motherwell’s Elegy to the Spanish Republic series titled Lament for Lorca, 1981-82, is estimated at $10,000 to $15,000. Willem de Kooning’s first lithograph with printer Irwin Hollander, Woman at Clearwater Beach, 1971, is also present. According to Hollander, the work was inspired by the artist’s “trip to Japan…the seeing and feeling of calligraphy, sumi brush and Zen”—it is expected to realize $8,000 to $12,000. There is also a run of moody works by Adolph Gottlieb. Bridging print and sculpture is Jean Dubuffet’s Parcours, 1981, an unusual scrolled screenprint on silk.
    [Show full text]
  • Barbara Rose Papers, 1940-1993 (Bulk 1960-1985)
    http://oac.cdlib.org/findaid/ark:/13030/tf9199n9wm Online items available Finding aid for the Barbara Rose papers, 1940-1993 (bulk 1960-1985) Jocelyn Gibbs. Finding aid for the Barbara Rose 930100 1 papers, 1940-1993 (bulk 1960-1985) Descriptive Summary Title: Barbara Rose papers Date (inclusive): 1940-1993 (bulk 1960-1985) Number: 930100 Creator/Collector: Rose, Barbara Physical Description: 11 Linear Feet(40 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: The Barbara Rose papers represent a selection from her archive and document her research in post-war and contemporary American art. The bulk of the papers date from 1960 through 1985. Included are sound recordings and videos, most of which are interviews by Rose of American artists active in the 1960s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Barbara Rose is an American art historian and critic, born in 1938 and educated at Smith College, Barnard College and Columbia University. She is known primarily for her writings on 20th-century American art. She has taught (at Hunter College, the Universtiy of California at San Diego and Irvine, and Sarah Lawrence College), curated exhibitions and made films. Through her marriage to Frank Stella and friendships with many other New York artists, she was a well-positioned observer of the American art world, particularly in the active New York scene of the 1960s and 1970s.
    [Show full text]
  • Aria Amenities Fine Art Brochure
    YOUR GUIDE TO EXPLORING THE Reproduced by permission of the Henry Moore Foundation The first major permanent collection of art in Las Vegas to be integrated into a public space, the ARIA Fine Art Collection is one of the world’s largest and most ambitious corporate collections. The ARIA Fine Art Collection features work by acclaimed painters, sculptors and installation artists, including Maya Lin, Jenny Holzer, Nancy Rubins, Claes Oldenburg and Coosje van Bruggen, Frank Stella, Henry Moore, James Turrell and Richard Long, among others. The ARIA Fine Art Collection encompasses a multitude of styles and media engaging visitors on a visual and intellectual level. Some were existing pieces, carefully chosen for their artistic value and cultural significance; others are site-specific installations for which the artist commanded their vision over the space. Fully integrated into the architecture and design of the ARIA Campus, guests can interact with important works of art in the living, breathing spaces of ARIA’s public areas, hotels and residential common spaces. From vibrant and ornate to intimate and serene, these works were strategically placed to fascinate and educate guests. For more information about the ARIA Fine Art Collection, please visit Aria.com/fineart. Please do not touch the artwork. 11 6 12 5 4 9 13 ADDITIONAL ATTRACTIONS TO CASINO ND LEVEL 7 10 PROMENADE ARIA Resort & Casino 3 8 A Lumia ARIA Resort & Casino, Main Entrance Twisting ribbons and large arcs of streaming water create bold, captivating “water sparks” at their intersections. Lumia is the first fountain to be lit, so the vibrant colors are visible during daylight.
    [Show full text]
  • Claes Oldenburg: Strange Eggs
    Claes Oldenburg: Strange Eggs Rarely displayed collages offer insight into sculptor’s extraordinary take on the everyday On View at the Menil Collection September 20, 2012 – February 3, 2013 Houston, August 28, 2012 – For more than fifty years Claes Oldenburg (b. 1929) has surprised, humored, and disoriented audiences with his unconventional use of media and scale to depict ordinary objects. The latest exhibition at the Menil Collection, Claes Oldenburg: Strange Eggs, will showcase a remarkable group of collages by the Swedish-born American artist. These works, amalgams of commercial advertisements and newspaper and magazine images, are some of Oldenburg’s earliest known pieces and represent a pivotal moment of experimentation in his prolific career. Completed over the course of two years after Oldenburg moved to New York City from Chicago in 1956, the exhibition’s eighteen collages feature self-contained forms that the artist made by seamlessly melding fragments cut from magazines purchased near his apartment on the Lower East Side. While many of the arrangements are unidentifiable, within them some original references remain: a piece of pie, the hind legs of a horse, a tree branch, the creased skin of a clenched fist, the texture of concrete. The process of combining art and everyday life would later define Oldenburg’s work. Born in 1929 in Stockholm, Sweden, Oldenburg grew up in Chicago where his father was Consul General of Sweden. After studying literature and art history at Yale University and later taking classes at the Art Institute of Chicago, Oldenburg moved to New York and eventually became part of a group of artists challenging Abstract Expressionism by returning to “realism,” working with found objects and figurative images.
    [Show full text]
  • G a L L E R Y G U I
    GALLERY GUIDE December 2005-April 2006 This document is posted publicly for non-profit educational uses, excluding printed publication. To cite include the following: The Dali Museum. Collection of The Dali Museum Library and Archives. Salvador Dali Museum St. Petersburg Dali lived in New York from 1940 until 1948. After World War II he frequently visited the city, living at the St. Regis Hotel. His works were constantly on view at a number of galleries there. Younger New York artists saw his work, and he was equally curious about their work. Dali remained open to new tendencies in art, and his painting entered into an Museum Store artistic dialogue with Abstract Expressionism and Pop art. Pop art is conventionally Temporary considered antithetical to Abstract Expressionism and arguably such an opposition is & Student false. Many Pop artists were engaged with abstraction. Certainly Dali was interested in Gallery both positions. Key Art Movements Abstract Expressionism is the post-World War II art movement, which shifted the Gallery Entrance center of the art world from Paris to New York. Influenced visually by Picasso and the Surrealists, as well as American sources, these artists developed an immediate, abstract Galleries 1 to 3 visual language appropriate for the post-atomic age. Most of them abandoned figuration, Dali Under the Influence, a new display working on a large-scale where they could focus on spontaneous ways that paint could to complement the special exhibition Pollock to be applied to the canvas, including dripping or pouring. Pop: America's Brush with Dali, flows Pop Art in America began in the 1960s, when younger artists turned to the visual chronologically through galleries 1-3.
    [Show full text]
  • “Just What Was It That Made U.S. Art So Different, So Appealing?”
    “JUST WHAT WAS IT THAT MADE U.S. ART SO DIFFERENT, SO APPEALING?”: CASE STUDIES OF THE CRITICAL RECEPTION OF AMERICAN AVANT-GARDE PAINTING IN LONDON, 1950-1964 by FRANK G. SPICER III Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Ellen G. Landau Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY May, 2009 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Frank G. Spicer III ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Dr. Ellen G. Landau (signed)_______________________________________________ (chair of the committee) ________________________________________________Dr. Anne Helmreich Dr. Henry Adams ________________________________________________ Dr. Kurt Koenigsberger ________________________________________________ ________________________________________________ ________________________________________________ December 18, 2008 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. Table of Contents List of Figures 2 Acknowledgements 7 Abstract 12 Introduction 14 Chapter I. Historiography of Secondary Literature 23 II. The London Milieu 49 III. The Early Period: 1946/1950-55 73 IV. The Middle Period: 1956-59: Part 1, The Tate 94 V. The Middle Period: 1956-59: Part 2 127 VI. The Later Period: 1960-1962 171 VII. The Later Period: 1963-64: Part 1 213 VIII. The Later Period: 1963-64: Part 2 250 Concluding Remarks 286 Figures 299 Bibliography 384 1 List of Figures Fig. 1 Richard Hamilton Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956) Fig. 2 Modern Art in the United States Catalogue Cover Fig. 3 The New American Painting Catalogue Cover Fig.
    [Show full text]
  • 1993 Next Wave Festival
    .' 1993 NEXT WAVE FESTIVAL _ PROGRAM NOTES _ STEVE REICH ENSEMBLE Cheryl Bensman Rowe, lyric soprano Marion Beckenstein, lyric soprano James Bassi, tenor Hugo Munday, baritone Bob Becker, Russ Hartenberger, Garry Kvistad, Thad Wheeler, percussion Nurit Tilles, Edmund Niemann, Philip Bush, pianos & keyboards Elizabeth Lim, Todd Reynolds, violin Scott Rawls, viola Jeanne LeBlanc, cello Leslie Scott, Kenneth Dybisz, flutes, oboe, english horn, clarinet & bass clarinet SYNOPSIS In the Bible, Abraham buys a cave from Ephron the Hittite as a burial place for his wife Sarah. The Cave of the Patriarchs, as it has come to be known, became the final resting place not only for Sarah, but for Abraham and their descendants as well. In Jewish mystical sources, the cave is also a passageway back to the Garden of Eden. It is said that Adam and Eve are also buried there. The cave is of great religious significance for Moslems as well. While the Jews are descendants of Abraham and Sarah through their son Isaac, the Moslems trace their lineage to Abraham through his son Ishmael born to Hagar, Sarah's handmaid. Today the cave, located in the largely Arab town of Hebron, in the West Bank, is completely built over and inaccessible. The ancient structures built above it reveal a long history of conflicting claims. One discovers not only the wall Herod erected around 'the cave, but also the remains of a Byzantine church, and finally the: mosque built in the 12th century which has dominated the site ever since. Since 1967 the mosque built above the cave remains under Moslem jurisdiction, while the Israeli army maintains a presence at the site.
    [Show full text]