Claes Oldenburg

Claes Oldenburg has held the throne in contemporary Pop Art sculpture for the past fifty years, showcasing limitless imagination. He broke away from the austere Abstract Expressionism tradition, pioneering what we now recognize as Pop Art sculpture. 

Biography of Claes Oldenburg

Claes Oldenburg, born to Gösta Oldenburg and Sigrid Elisabeth Lindforss in Stockholm, Sweden, arrived in the United States at six months old. 

Oldenburg became a naturalized U.S. citizen in 1953. He attended Yale University from 1946 to 1950, earning a degree in English and Art. Upon leaving Yale, he moved to Chicago, where he initially worked for a year and a half at the City News Bureau but found the job unfulfilling and lacking a promising future. Preferring not to pursue reporting, he decided to pursue a career as a professional artist.

From 1951 to 1959, Oldenburg embarked on a self-education journey, interspersed with attending the Art Institute of Chicago when he felt the need for guidance. He worked tirelessly for about eight years, creating art. In 1956, he returned to New York to continue developing his drawings.

Upon returning to New York, Oldenburg's focus shifted towards the figure, as he was never inclined toward Abstract painting. Despite attempting it during his school years, he realized his passion lay elsewhere — in a subject matter and a naturalistic form. In 1958, upon finding a spacious apartment on the Lower East Side, he delved back into figure painting, dedicating himself to drawing and painting numerous figures and nudes.

In 1961, Oldenburg penned "I Am For…," often considered a manifesto, although the artist himself disagrees. Through this declaration, Oldenburg asserted his radical artistic stance, proclaiming: 

Oldenburg's debut solo exhibition took place at the Judson Gallery in New York in 1959, showcasing figurative drawings and papier-mâché sculptures. As the 1960s unfolded, he solidified his presence through a series of performances and installations. Early works such as "The Street" (1960), "The Store" (1961), and "Ray Gun Theater" (1962) significantly contributed to the rise of American Pop Art.

In 1969, the artist's works were exhibited at the Museum of Modern Art in New York, followed by a showcase at the Tate Gallery in London the following year. The Whitney Museum of American Art hosted a retrospective of drawings by Oldenburg and Van Bruggen in 2002. Seven years later, another significant exhibition took place, featuring iconic examples of Oldenburg's early sculpture, such as "Giant BLT (Bacon, Lettuce, and Tomato Sandwich)" (1963), "French Fries and Ketchup" (1963), and "Soft Toilet" (1966).

Oldenburg had three significant relationships in his life. His first wife, Patty Mucha (from 1960 to 1970), was a regular performer in his happenings and also worked with The Druids. From 1969 to 1977, he was involved with Hannah Wilke, a feminist artist and sculptor. In 1970, he met his second wife, Coosje Van Bruggen, during his first major retrospective at the Stedelijk Museum in Amsterdam, where she worked as a curator. They collaborated on numerous works until her passing in 2009.

Oldenburg served as director of the Museum of Modern Art in New York for over two decades and later became chairman of Sotheby's America. He remains one of the most exhibited contemporary artists to date, featured in solo and group exhibitions worldwide. Over 40 large-scale pieces are installed globally, from Norway and South Korea to Germany, The Netherlands, Italy, Japan, the United Kingdom, Spain, France, and the USA. 

Claes Oldenburg's Art Style

In 1960, Claes Oldenburg emerged as a Pop artist, creating "soft" sculptures of everyday objects. When asked about lingering criticisms of American society and its habits, Oldenburg explained that his approach is entirely instinctive. While others may discuss contemporary objects and symbols negatively, he focuses solely on the living experience. Naturally, he ponders America and its way of life, but these thoughts do not dominate his creative process.

Oldenburg made a significant breakthrough in the realm of sculpture, diverging from the aesthetics of Abstract Expressionism with its rigid, vertically oriented sculptures. Though his works may seem unassuming, they are expressive entities in their own right. In contrast to his Pop art peers like Warhol and Lichtenstein, Oldenburg employed a gentler cynicism. His innovative approach paved the way for the next generation of artists.

Refusing to confine his works to a single dimension like critique, Oldenburg believes art objects should be unique yet multifaceted. He asserts that each work should branch in many directions simultaneously.