Claes oldenburg biography pop art comic
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Claes Oldenburg confine 1965.Photograph induce Tony Archaeologist / Getty
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CLAES OLDENBURG
Learn More about Claes Oldenburg
Claes Oldenburg was born in 1929 in Sweden, but grew up in the United States. His family settled in Chicago, where his father was the Swedish consul-general. His mother had been a concert singer. Oldenburg attended a private school in Chicago before entering Yale University in 1946. He took only a few art classes during his senior year and received a Bachelor of Arts degree. Writing was Oldenburg's main interest at this time, so when he returned to Chicago, he worked as a newspaper reporter until 1952, when he entered the Chicago Art Institute to study art. He became an American citizen in 1953.
Oldenburg was an art editor and illustrator for a Chicago magazine from 1955 to 1956. One of his duties during that time was drawing comic strips for the magazine. In fact, Oldenburg is the only Pop artist to have professionally drawn comics, despite the importance of the comics to other pop artists, primarily Warhol and Lichtenstein.
In 1956, Oldenburg moved to New York City. He worked part time at the Cooper Union library, shelving books. At this time, his interest in traditional figurative paintings began to change to an interest in sculpture.
In the late 1950s, Oldenburg was influenced by Kaprow's "happenings," Du
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Summary of Claes Oldenburg
With his saggy hamburgers, colossal clothespins and giant three-way plugs, Claes Oldenburg has been the reigning king of Pop sculpture since the early 1960s, back when New York was still truly gritty. In 1961 he rented a storefront, called it The Store, and stocked it with stuffed, crudely-painted forms resembling diner food, cheap clothing, and other mass-manufactured items that stupefied an audience accustomed to the austere, non-representational forms in Abstract Expressionist sculpture. These so-called "soft-sculptures" are now hailed as the first sculptural expressions in Pop art. While his work has continued to grow in scale and ambition, his focus has remained steadfast: everyday items are presented on a magnified scale that reverses the traditional relationship between viewer and object. Oldenburg shrinks the spectator into a bite-sized morsel that might be devoured along with a giant piece of cake, or crushed by an enormous ice pack. His work shows us just how small we are, and serves as a vehicle for his smart, witty, critical, and often wickedly funny insights on American culture over the past half-century.
Accomplishments
- Whereas Pop artists had imitated the flat language of billboards, magazines, television, etc., working in two-