Word: oldenburg
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Dates: during 1970-1979
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...right? By 1965 pop had become the most popular movement in American art history, drenched in ballyhoo, gratefully supported by legions of collectors whose appetites bore the same relation to connoisseurship that TV dinners do to poulet en demi-deuil. Warhol, Lichtenstein, Indiana, Rosenquist, Wesselmann, Oldenburg, Johns and Rauschenberg became instant household names, not counting their swarm of epigones. "What we have with the pop artists," wrote the English critic Lawrence Alloway, "is a situation in which success has been combined with misunderstanding." He had coined the term pop art, in England in 1957, "to refer approvingly to the product...
Johns and Rauschenberg, then, and Oldenburg, and some Warhol, a good deal of Lichtenstein and a few pieces by Rosenquist and (surprisingly enough, in view of his calamitous recent work) by Jim Dine: such are the survivors. The losers are more numerous...
...anonymity or near oblivion such artists and animators as Fred Moore, Bill Tytla and the abundantly gifted Albert Hurter, the presiding influence on Pinocchio. Hurter's pencil roughs and details exuded an essence of buckeye surrealism that got into gallery art only decades later-and then through Claes Oldenburg, who had himself worked at Disneyland...
...made Pop art possible and, after a gestation of nearly 20 years, it duly arrived in a flurry of mice: Roy Lichtenstein is said to have happened on his comic-strip idiom after his son asked him to prove he was a real artist by drawing a Mickey. Claes Oldenburg-whose obsessive and imperious fantasy about turning the whole environment into one Oldenburg is the closest thing high art has to what Disney World achieves-has based whole series of sculptures, multiples and drawings on the Mouse...
...Claes Oldenburg, 44, artist, from