Word: oldenburg
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...architecture makes them look right up to the minute-or, in the case of some dresses on display, just ahead of it. In 1937 he designed a quilted evening jacket of white satin that he filled with eider down. Salvador Dali called it the first soft sculpture (Was Claes Oldenburg listening?), and James himself thought his design had inspired the U.S. military when they needed heavy-weather gear. Indeed, James frequently thought that he was being knocked off, especially by the vulgarians on Seventh Avenue. Undoubtedly he was. No one, however, could reproduce his 1937 evening mantle made...
Still, if Claes Oldenburg dribbled sticky floods of enamel over his hamburgers and plaster cakes in the '60s. he did so in homage to Pollock. If a sculptor like Richard Serra made sculpture by throwing molten lead to splash in a corner, or Barry Le Va scattered ball bearings and metal slugs on the floor of the Whitney Museum, the source of their gestures was not hard to find. Distorted traces of Pollock lie like genes in art-world careers which, one might have thought, had nothing to do with his. Certainly Pollock scorned decor. He was not interested...
...teacup irked the museum's trustees, and one show devoted entirely to an elaborate shoeshine stand crafted by little-known Primitive Artist Joe Milone nearly got him fired. But he also presented landmark shows on surrealism, Dada, Bauhaus architecture, machine design and artists from Edward Hopper to Claes Oldenburg. In the process, he enlarged the public's conception of what art is. MOMA, Barr once said, was built on the belief that the art of our time "should belong to us, not merely to the future...
...curious paradox was that, in Lichtenstein's case, the fluid -those cartoon images of teen-agers and Korean War jets-was transparent. After a while the imagery hardly got in the way at all, and Lichtenstein could be treated as a formalist much more readily than, say, Claes Oldenburg, with his gross impurities and gargantuan appetite for metaphor. A lot of Pop art owed something to surrealism. Lichtenstein's never...
...gone, and where is their typical art? Nobody seems to know. Everyone still knows what the art of the '60s looked like. It looked like Claes Oldenburg's giant Mickey Mouse, like Andy Warhol's cans or Roy Lichtenstein's enlarged comic strips. Such pieces now have a period air of things meant to be consumed quickly-EAT ME! as the lettering on Alice's cake read. They constitute an art of rapid memorable icons that expected to be assimilated and exhausted in quick bursts, as indeed they were...