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CLAES OLDENBURG DES 104 PRESENTATION

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CLAES OLDENBURG
POP ARTIST
PRESENTATION

Published in: Art & Photos
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CLAES OLDENBURG DES 104 PRESENTATION

  1. 1. CLAES OLDENBURG Stevie Lee Anell, Patrick Campbell & Rebecca Lazenby
  2. 2. ABOUT CLAES American artist Claes Oldenburg created works of art which were a wonderful blend of reality and fantasy. Oldenburg's artistic success was due in part to his irreverent humor and incisive social commentary. He took objects from the everyday world such as typewriters, lipstick, a flashlight; lifted them out of their usual context; and forced viewers to reassess their preconceptions about the objects. Oldenburg's style changed and developed over the years. He worked in a variety of modes, including drawing, painting, film, soft sculpture, and large scale sculpture in steel. After 1959 he was influenced by the theater. His involvement in "happenings" in the early 1960s resulted from his interest in both participatory art and Freudian free association.
  3. 3. HISTORY WHERE IS HE FROM? * Claes was born in 1925 in Stockholm, Sweden. * Born to Gösta Oldenburg, and his wife Sigrid Elisabeth née Lindforss. * Gösta was a Swedish diplomat stationed in New York – and later was appointed Consul General of Sweden to Chicago. * The family moved to Chicago which is where Claes spent a lot of his childhood.
  4. 4. HISTORY HOW DID HE GET INTO ART? * Claes studied literature and art history at Yale University 1946 – 1950 * He then studied at The School of the Art Institute of Chicago. * While furthering his skills, he was a reporter for the City News Bureau of Chicago. * He also briefly painted at the Oxbow School of Painting, in Michigan. * His early years in New York were shaped by his contact with other artists struggling to move beyond the confines of Abstract Expressionism, including Red Grooms, Allan Kaprow, Robert Whitman, Lucas Samaras, George Segal, and Jim Dine. All were interested in art as experience and in pushing to the limit the question "What is art?" They began to stage "happenings" based in part on the European DADA ethos of the 1920s (and a forerunner to the 1980s performance artists). This was the beginning of the Pop Art movement.
  5. 5. HISTORY HIS FIRST SHOW * 1959, Claes had his first show at the Judson Gallery. * He featured newspaper sculptures, wooden sculptures and paper-mache objects. Claes Oldenburg. Pastry Case, I. 1961–62. Painted plaster sculptures on ceramic plates, metal platter, and cups in glass-and-metal case, 20 3/4 x 30 1/8 x 14 3/4" (52.7 x 76.5 x 37.3 cm). The Museum of Modern Art, New York. The Sidney and Harriet Janis Collection. © 2012 Claes Oldenburg
  6. 6. POP ART MOVEMENT * Pop art is a 20th Century art movement that utilized the imagery, style and techniques of consumerist society and popular culture, favoured media derived figural imagery and the mass reproduction of everyday objects. * Pop artists used common images from everyday culture as their sources including: advertisements and consumer goods, celebrities and photographs and comic strips. * Bright colours * Some pop artists: Andy Warhol, Roy Lichtenstein and Robert Indiana.
  7. 7. SERIES THE STREET 1960 * Claes used subject matter that were common and commercial objects in his urban surroundings, he had a series of installations and performances, among them were The Street (1960), The Store (1961), which contributed significantly to the American pop art. * The Street: * The Street (1960), consisted of cardboard and burlap forms in the shape of cars, signs, or figures, which the artist painted in a rough, graffiti like style. These torn and tattered objects were suspended from the ceiling or propped against gallery walls. Oldenburg employed cast-off materials to evoke the chaos and brutality of life in the slums of Chicago and New York.
  8. 8. THE STORE 1961 * The Store: * The following year embarked on his second project The Store, filling a rented storefront with colourful, enamel-painted plaster reliefs and free-standing plaster sculptures of everyday items such as clothing, food and toys. * Were extraordinarily far-seeing in the way they erased the differences between consumer goods and their perfected images in advertising, not to mention the line separating art from any other commodity. A mountainous silver cash register squatting on a pedestal at the center of the show seems pulled from the real world (shown below).
  9. 9. FIRST URBAN SCALE SCULPTURE * His first sculpture to be realized in urban scale was he 45 foot high Clothespin, installed in Philadelphia in 1976.
  10. 10. VIDEO
  11. 11. PLASTER SIGNS Three plaster artworks by Claes
  12. 12. PEPSI-COLA SIGN Pepsi-Cola Sign, Claes Oldenburg, 1961, The Museum of Modern Art. DETAILS: Muslin soaked in plaster over wire frame & painted with enamel, 58 1/4 x 46 1/2 x 7 1/2 in. * The Pepsi sign is American as apple pie Uses the same red, white and blue that the American flag does – patriotism. * Role of the capitalist economy
  13. 13. RED TIGHTS WITH FRAGMENT 9 Red Tights with Fragment 9, Claes Oldenburg, 1961, The Museum of Modern Art. DETAILS: Muslin soaked in plaster over wire frame, painted with enamel. 69 5/8 x 34 1/4 x 8 3/4" (176.7 x 87 x 22.2 cm). * “Vision of a pair of red teenage tights seen in the wind at the corner of Avenue A and 14th Street”. * Display of merchandise, but its jagged edges and the single number 9 also lend it the appearance of a torn advertisement.
  14. 14. 7-UP, Claes Oldenburg, 1961, The Museum of Modern Art. DETAILS: Enamel on plaster-soaked cloth on wire, 55 x 39 1/4 x 5 ½ 7-UP SIGN * Crumpled surface and sloppily applied paint relate to the then dominant gestural aesthetics of abstract expressionism, and to the messiness of street trash. * Bright enamel paint on 7-up mimics the real product and also alludes to the brash colours of billboards and advertisements.
  15. 15. SOFT WORK Three soft artworks by Claes
  16. 16. FRENCH FRIES AND KETCHUP French fries and ketchup, Claes Oldenburg, 1963, Whitney Museum of American Art, New York, USA DETAILS: Made from: Vinyl and kapok on wood base 10 1/2 x 42 x 44 in. (26.67 x 106.68 x 111.76 cm) * Main notions and ideologies of the abundance of consumerism. * Bright poppy red is coating the neutral and bland colours of the fries and plate. * Symbolism- pop culture, bland society
  17. 17. FLOOR BURGER Floor Burger, Claes Oldenburg, 1962, Collection Art Gallery of Ontario, Toronto DETAILS: Made from: Canvas filled with foam rubber and cardboard boxes, painted with acrylic paint 132.1x213.4 cms * This massice over-sized version of a 20th century icon evokes a sense of incredulity. * Imitation of one of the worlds most potent symbols of American culture
  18. 18. FLOOR CAKE Floor Cake, Claes Oldenburg, 1962, The Museum of Modern Art, New York, USA DETAILS: Made from: Synthetic polymer paint and latex on canvas filled with foam rubber and cardboard boxes 58 3/8" x 9' 6 1/4" x 58 3/8" (148.2 x 290.2 x 148.2 cm) * Strong emphasis on the distaste and saturation that was occurring during the revolution that was occurring.
  19. 19. HARD WORK Three hard artworks by Claes
  20. 20. SPOONBRIDGE AND CHERRY Spoonbridge and Cherry, Claes Oldenburg, 1985-1988, Minneapolis, USA DETAILS: Made from: aluminum, stainless steel, paint SIZE……… * Installed in Minneapolis Sculpture Garden in 1988. * Oldenburg has used a spoon as a motif or theme in drawings or studies since the early 1960s. * Spoonbridge and Cherry has become a landmark for Minneapolis and this whimsical sculpture is a favourite among visitors to the Walker Art Centre.
  21. 21. SHUTTLECOCK/BLACKBERRY PIE II Shuttlecock/Blackberry Pie II, Claes Oldenburg, 1999 Metropolitan Museum of Art, New York, USA DETAILS: Made from: cast aluminum painted with acrylic urethane. SIZE…. * Transformed a shuttlecock into a pie in the sky, a lovely slice of blackberry pie.
  22. 22. DROPPED CONE Dropped Cone, Claes Oldenburg, 2001 Neumarkt Galerie, Cologne, Germany DETAILS: Made from: fiber-reinforced plastic, balsa wood; painted with polyester gelcoat 39 ft. 10 in. (12.1 m) high x 19 ft. (5.8 m) diameter; * He placed the sculpture on the roof of the mall. So it could become part of the architecture around it. * Through its location and shape, it draws parallels church spires and the modern church. * The sculpture was commissioned by the owners of the Neumarkt Galerie - a shopping centre.
  23. 23. COMPARISON
  24. 24. ARTIFACT
  25. 25. THE END THANKYOU

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