The Ordinary Must Not Be Dull: Claes Oldenburg’s Soft Sculptures, Pulitzer Arts Foundation, Saint Louis, Missouri, July 29–October 15, 2016. 537 West 24th Street, New York, October 13–November 11, 2017.
at Joni Moisant Weyl, New York, May 16–September 14, 2019.Ĭlaes Oldenburg with Coosje van Bruggen: Drawings, Denver Art Museum, October 7, 2018–January 6, 2019.Ĭlaes Oldenburg: Shelf Life, Museum of Fine Arts, Boston, August 11–December 2, 2018.Ĭlaes Oldenburg: Sculptural Multiples, Krakow Witkin Gallery, Boston, February 17–March 24, 2018.Ĭlaes Oldenburg: Shelf Life, Pace Gallery. Mapping the Collection, Museum Ludwig, Cologne, Germany, June 20–August 23, 2020.Ĭlaes Oldenburg: A Survey of Print & Sculpture Editions, Gemini G.E.L. Read MoreĬlaes & Coosje: Il Corso del Coltello, Pace Gallery, 7th Floor, 540 West 25th Street, New York, March 26–July 24, 2021.Ĭlaes & Coosje: A Duet, Pace Gallery, 540 West 25th Street, New York, March 25–May 9, 2021.
Together, Oldenburg and van Bruggen produced sculpture, drawings, performances, and colossal monuments that transform the familiar into the unexpected. In addition to curatorial and lecturing positions, van Bruggen was the author of many articles and books including monographs on Bruce Nauman, Hanne Darboven, John Baldessari, and Claes Oldenburg. In 1977, Oldenburg married curator and art historian Coosje van Bruggen, with whom he would collaborate for over thirty years. His accumulation of studio miscellany eventually took form as the Mouse Museum and Ray Gun Wing (1965–77), which pioneered collection and display as forms of art. These took as subjects ordinary, everyday objects, often enlarged, as did a series of fantastic proposals for civic monuments. Moving from early environments such as The Street (1960), The Store (1961), and Bedroom Ensemble (1963), Oldenburg then developed a series of soft sculptures, created with the participation with his first wife Patty Mucha. Claes Oldenburg is renowned for his sculptures, drawings, and colossal monuments that transform familiar objects into states that imply animation and sometimes revolt.Ī leading voice of the Pop art movement, Oldenburg came to prominence in the New York art scene of the late 1950s and early 1960s, where he established himself with a series of installations and performances influenced by his surroundings on the Lower East Side.
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