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...find it safe to come back. For she practices a kind of art that has made her one of the less popular artists in Manhattan. Sturtevant's thing is line-for-line copies of virtually every top pop painter and sculptor. She has "done" Segal, Wesselmann, Oldenburg, Stella, Johns, Lichtenstein, Rosenquist and Warhol with such loving cunning and accomplished accuracy that she makes them all look slightly ridiculous. If the ideal of pop is to reproduce banality literally, then Sturtevant has carried the ideal to its logical but infuriating conclusion-by reproducing the literal reproduction literally. "Oldenburg is ready...

Author: /time Magazine | Title: Trends: Statements in Paint | 2/28/1969 | See Source »

Onlookers are not always sure whether what they see is in fact either caustic or witty, and whether they ought to laugh or snarl. Claes Oldenburg dug a grave and refilled it, calling it "an underground sculpture." Paul Thek displayed a lifelike sculpture of himself as a cadaver. Christo Javacheff, 33, a be spectacled Bulgarian-born artist, expresses his wit by wrapping things-earth, hay, nudes, wheelbarrows and bottles...

Author: /time Magazine | Title: Sculpture: All Package | 2/7/1969 | See Source »

...1940s, and particularly the atom bomb, in Hulten's opinion, helped to turn artists away in disgust from technological subject matter. But by the late 1950s, the machine was beginning to attract a new following. This postwar generation could treat a machine with easy familiarity. Claes Oldenburg's liquidly drooping Giant Soft Fan is, among other things, a gently nostalgic evocation of times past -since, after all, air conditioning is more common nowadays. Jean Tinguely's joyous black Rotozaza, No. 1 tosses out colored balls and then sucks them back in again, a mystifying process intended...

Author: /time Magazine | Title: Exhibitions: Love, Hate & the Machine | 12/6/1968 | See Source »

...change has been the new emphasis on soft, amorphous Oldenburgian constructions, works that fold and change from day to day. They share sloppiness and seeming crudity. Museumgoers in Chicago and Milwaukee this year found themselves climbing inside semitransparent, womblike constructions by Frank Lincoln Viner and Jean Lindner. Unlike Oldenburg's work, these works depict no recognizable object, but like it, they change with the touch of a human hand...

Author: /time Magazine | Title: Art: The Avant-Garde: Subtle, Cerebral, Elusive | 11/22/1968 | See Source »

...Oldenburg, his soft and cuddly toilet, with its water tank dipping to a U in the middle, suggests the Winged Victory. A magnified drainpipe incorporates the notion of a phallus and an elephant's trunk. Cigarettes on a tray look like cannons (he kicked the habit of three packs a day). Oldenburg's proposed colossal monuments were never meant to be built. Who wants a 650-ft. high Teddy bear in Central Park? But they are real nonetheless-they exist in the form of drawings, as "concepts" rather than sculpture...

Author: /time Magazine | Title: Art: The Avant-Garde: Subtle, Cerebral, Elusive | 11/22/1968 | See Source »

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