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78-522: Claes Oldenburg (January 28, 1929 – July 18, 2022) was a Swedish-born American sculptor best known for his public art installations, typically featuring large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects. Many of his works were made in collaboration with his wife, Coosje van Bruggen , who died in 2009; they had been married for 32 years. Oldenburg lived and worked in New York City. Claes Oldenburg

156-664: A cerebral hemorrhage while swimming in her pool. She is interred at Forest Lawn Cemetery in Buffalo, NY . In 1953 Jackson opened the Martha Jackson Gallery in a brownstone on East 66th street in Manhattan. In 1955 the gallery moved to East 69th street, where it remained open until Jackson's death in 1969. Working with the assistance of her son, David Anderson, Jackson's gallery was known as an artist-friendly establishment that represented an international roster of artist from

234-458: A linseed oil firm founded by his father, which became a division of Textron in 1961. Jackson attended Smith College from 1925 to 1928 where she studied English . She moved to Baltimore during the war where she studied art history at Johns Hopkins University and the Baltimore Museum of Art . In 1949, following her interest in making art, Jackson moved to New York to attend

312-573: A Performance at the Japanese American Cultural & Community Center and the exhibition Props, Costumes and Designs for the Performance "Il Corso del Coltello" at Margo Leavin Gallery. He collaborated with English director Gerald Fox in 1996 to make a documentary about himself in association with The South Bank Show which was broadcast on ITV . The city of Milan , Italy, commissioned

390-460: A commission motive and as a critical focus by artists. The individual, Romantic retreat element implied in the conceptual structure of land art , and its will to reconnect the urban environment with nature, is turned into a political claim in projects such as Wheatfield – A Confrontation (1982) by American artist Agnes Denes , as well as in Joseph Beuys ’ 7000 Oaks (1982). Both projects focus on

468-445: A courtyard full of salvaged tires by Allan Kaprow ; as well as a recreation of Claes Oldenburg 's Store . Jackson worked with Julian Stanczak , and the gallery's 1964 exhibition of his paintings led to the coining of the term " Op Art " by Time Magazine . Around the same time, Jackson established Red Parrot Films , a production company that made documentaries on art and artists. Their film "The Ivory Knife," on Paul Jenkins ,

546-592: A crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. In 1969, Oldenberg contributed a drawing to the Moon Museum . Geometric Mouse-Scale A, Black 1/6 , also from 1969, was selected to be part of the Governor Nelson A. Rockefeller Empire State Plaza Art Collection in Albany, New York . Many of Oldenburg's large-scale sculptures of mundane objects elicited ridicule before being accepted. For example,

624-478: A database of public art works, essays and case studies, with a focus on the UK. The Institute for Public Art, based in the UK, maintains information about public art on six continents. The WikiProject Public art project began in 2009 and strove to document public art around the globe. While this project received initial attention from the academic community, it mainly relied on temporary student contributions. Its status

702-659: A good example although less art is involved. The doual'art project in Douala ( Cameroon , 1991) is based on a commissioning system that brings together the community, the artist and the commissioning institution for the realization of the project. Memorials for individuals, groups of people or events are sometimes represented through public art. Examples are Maya Lin 's Vietnam War Memorial in Washington DC, Tim Tate 's AIDS Monument in New Orleans , and Kenzō Tange 's Cenotaph for

780-523: A grant from the National Endowment for the Arts . His collaboration with Dutch/American writer and art historian Coosje van Bruggen dates from 1976. They were married in 1977. Oldenburg officially signed all the work he did from 1981 on with both his own name and van Bruggen's. Their first collaboration came when Oldenburg was commissioned to rework Trowel I , a 1971 sculpture of an oversize garden tool, for

858-456: A new approach in the way the percent for art was used, or the public art funds of Geneva with the Neon Parallax project involving a very large urban environnement in 2005. For the second one can refer to Les Nouveaux Commanditaires launched by Fondation de France with François Hers in 1990 with the idea a project can respond to a community's wish. The New York High Line from 2009 is

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936-520: A paintbrush, capped with bristles that are illuminated at night. The sculpture is installed at a daring 60-degree angle, as if in the act of painting. In 2018, The Maze was included in 1968: Sparta Dreaming Athens at Château de Montsoreau-Museum of Contemporary Art . Oldenburg's first one-man show, in 1959 at the Judson Gallery in New York, had shown figurative drawings and papier-mâché sculptures. He

1014-513: A return to performance for Oldenburg when the trio presented Il Corso del Coltello , in Venice , Italy, in 1985; other characters were portrayed by Germano Celant and Pontus Hultén . "Coltello" is the source of Knife Ship , a large-scale sculpture that served as the central prop; it was later seen in Los Angeles in 1988 when Oldenburg, van Bruggen and Gehry presented Coltello Recalled: Reflections on

1092-433: A small Loire Valley chateau , whose music room gave them the idea of making a domestically sized collection. Van Bruggen and Oldenburg renovated the house, decorating it with modernist pieces by among others Le Corbusier , Charles and Ray Eames , and Alvar Aalto , Frank Gehry, Eileen Gray . Van Bruggen died on January 10, 2009, from the effects of breast cancer. Oldenburg's brother, art historian Richard E. Oldenburg ,

1170-566: A sophisticated tradition. In theme, it is both phallic, life-engendering, and a bomb, the harbinger of death. Male in form, it is female in subject". One of a number of Oldenburg's sculptures that possess interactive capabilities, it now resides in the Morse College courtyard. From the early 1970s on, Oldenburg concentrated almost exclusively on public commissions. His first public work, Three-Way Plug came on commission from Oberlin College with

1248-476: A structure for funding public art still utilized today. This program allotted one half of one percent of total construction costs of all government buildings to the purchase of contemporary American art for them. A-i-A helped solidify the policy that public art in the United States should be truly owned by the public. It also promoted site-specific public art. The approach to public art radically changed during

1326-491: Is an example of an interactive, social activist public art project. Rather than metaphorically reflecting social issues, new genre public art strove to explicitly empower marginalized groups while maintaining aesthetic appeal. An example was curator Mary Jane Jacob 's 1993 public art show " Culture in Action " that investigated social systems though engagement with audiences that typically did not visit traditional art museums. In

1404-471: Is currently unknown. Martha Jackson Gallery Martha Jackson ( née   Kellogg ; January 17, 1907 – July 4, 1969) was an American art dealer , gallery owner , and collector. Her New York City based Martha Jackson Gallery , founded in 1953 , was groundbreaking in its representation of women and international artists, and in establishing the op art movement. Jackson was born Martha Kellogg on January 17, 1907, in Buffalo, New York . She

1482-524: Is designed to encourage direct hands-on interaction. Examples include public art that contain interactive musical, light, video, or water components. For example, the architectural centerpiece in front of the Ontario Science Centre is a fountain and musical instrument ( hydraulophone ) by Steve Mann where people can produce sounds by blocking water jets to force water through sound-producing mechanisms. An early and unusual interactive public artwork

1560-452: Is often created and provided within formal "art in public places" programs that can include community arts education and art performance. Such programs may be financed by government entities through Percent for Art initiatives. Some public art is planned and designed for stability and permanence. Its placement in, or exposure to, the physical public realm requires both safe and durable materials. Public artworks are designed to withstand

1638-423: Is publicly accessible, both physically and/or visually. When public art is installed on privately owned property, general public access rights still exist. Public art is characterized by site specificity , where the artwork is "created in response to the place and community in which it resides" and by the relationship between its content and the public. Cher Krause Knight states that "art's publicness rests in

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1716-580: Is the case for High Line Art, 2009, a commission program for the High Line , derived from the conversion of a portion of railroad in New York City ; and of Gleisdreieck , 2012, an urban park derived from the partial conversion of a railway station in Berlin which hosts, since 2012, an open-air contemporary art exhibition. The 1980s also witnessed the institutionalization of sculpture parks as curated programs. While

1794-577: The Albright Knox collection. Following her death in 1969, works from Jackson's personal collection were donated to the Albright Knox Gallery in Buffalo, NY. The gift includes works by Norman Carton , Richard Diebenkorn , Jim Dine , Arshile Gorky , Adolph Gottlieb , Grace Hartigan , Alfred Jensen , Piero Manzoni , Claes Oldenburg , Antoni Tàpies , and Robert Motherwell . Artworks from

1872-538: The Chinati Foundation (1986) in Texas, which advocates for the permanent nature of large-scale installations whose fragility may be destroyed when re-locating the work. Public art faces a design challenge by its very nature: how best to activate the images in its surroundings. The concept of “ sustainability ” arises in response to the perceived environmental deficiencies of a city. Sustainable development , promoted by

1950-730: The College for Creative Studies in Detroit, Michigan, in 2005, and the Pennsylvania Academy of Fine Arts , 2011. Awards for their collaboration include the Distinction in Sculpture, SculptureCenter , New York (1994); Nathaniel S. Saltonstall Award, Institute of Contemporary Art, Boston (1996); Partners in Education Award, Solomon R. Guggenheim Museum, New York (2002); and Medal Award, School of

2028-658: The Hans Hofmann School of Art. Already an art collector, she took Hoffman's advice to become an art dealer, using sales from her personal collections to fund her gallery. Jackson was married to John Anderson of Buffalo with whom she had two children, Cyrena (1934-1939) and David (1935-2009). The marriage ended in divorce. She was married a second time to attorney David Jackson of Buffalo from 1940 to 1949. Martha Jackson died at age 62 at her Mandeville Canyon home in Brentwood, Los Angeles on July 4, 1969, after suffering

2106-596: The National Gallery of Art , Washington, D.C.; Museum of Contemporary Art, Los Angeles ; Kunst- und Ausstellungshalle der Bundesrepublik Deutschland , Bonn; and Hayward Gallery , London). In 2002, the Whitney Museum of American Art in New York held a retrospective of the drawings of Oldenburg and van Bruggen; the same year, the Metropolitan Museum of Art in New York exhibited a selection of their sculptures on

2184-504: The Smithsonian American Art Museum 's Archives of American Art . It currently holds over six thousand works in its database. There are dozens of non-government organizations and educational institutions that maintain online public art databases of public artworks covering numerous areas, including the National Endowment for the Arts , WESTAF , Public Art Fund , Creative Time , and others. Public Art Online, maintains

2262-470: The United Nations since the 1980s, includes economical, social, and ecological aspects. A sustainable public art work would include plans for urban regeneration and disassembly. Sustainability has been widely adopted in many environmental planning and engineering projects. Sustainable art is a challenge to respond the needs of an opening space in public. In another public artwork titled "Mission leopard"

2340-559: The 1969 Lipstick (Ascending) on Caterpillar Tracks , was removed from its original place in Beinecke Plaza at Yale University, and "circulated on a loan basis to other campuses". English art critic Ellen H. Johnson says that with its "bright color, contemporary form and material and its ignoble subject, it attacked the sterility and pretentiousness of the classicistic building behind it". The artist "pointed out it opposed levity to solemnity, color to colorlessness, metal to stone, simple to

2418-555: The 1970s by urban cultural policies, for example the New York-based Public Art Fund and urban or regional Percent for Art programs in the United States and Europe. Moreover, public art discourse shifted from a national to a local level, consistent with the site-specific trend and criticism of institutional exhibition spaces emerging in contemporary art practices. Between the 1970s and the 1980s, gentrification and ecological issues surfaced in public art practice both as

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2496-401: The 1970s, following the civil rights movement's claims on public space, the alliance between urban regeneration programs and artistic efforts at the end of the 1960s, and revised ideas of sculpture. Public art acquired a status beyond mere decoration and visualization of official national histories in public space. Public art became much more about the public. This perspective was reinforced in

2574-495: The 1990s, some artists called for artistic social intervention in public space. These efforts employed the term "new genre public art" in addition to the terms "contextual art", " relational art ", " participatory art ", "dialog art", " community-based art ", and "activist art". "New genre public art" is defined by Suzanne Lacy as "socially engaged, interactive art for diverse audiences with connections to identity politics and social activism". Mel Chin 's Fundred Dollar Bill Project

2652-523: The 21st Century public art has often been a significant component of public realm projects in UK cities and towns, often via engagement with local residents where artists will work with the community in developing an idea or sourcing content to be featured in the artwork. Examples would include Adrian Riley 's 'Come Follow Me' in Minster in Lincolnshire where a 35m long text artwork in the public square outside

2730-663: The A-bomb Victims in Hiroshima Peace Memorial Park in Japan. Public art is sometimes controversial. The following public art controversies have been notable: Online databases of local and regional public art emerged in the 1990s and 2000s in tandem with the development of web-based data. Online public art databases can be general or selective (limited to sculptures or murals), and they can be governmental, quasi-governmental, or independent. Some online databases, such as

2808-593: The Art Institute of Chicago . While further developing his craft, he worked as a reporter at the City News Bureau of Chicago . He also opened his own studio and, in 1953, became a naturalized citizen of the United States. In 1956, he moved to New York, and for a time worked in the library of the Cooper Union Museum for the Arts of Decoration , where he also took the opportunity to learn more, on his own, about

2886-570: The Delaware." All of the works in the exhibition had been donated to the museum in 1980 by Jackson's son, David Anderson. Prints from Martha Jackson's collection were exhibited in "Martha Jackson Graphics" at the University of Buffalo Anderson Gallery in 2015. In 2021 the Hollis Taggart gallery presented the exhibit Wild and Brilliant: The Martha Jackson Gallery and Post-War Art . The exhibition

2964-494: The Gangsta Gardener (or Guerrilla Gardener) of South Central L.A. is an example of an artist whose works constitute temporary public art works in the form of public food gardens that addresses sustainability, food security and food justice . Andrea Zittel has produced works, such as Indianapolis Island that reference sustainability and permaculture with which participants can actively engage. Some public art

3042-458: The Japanese postwar collective, and also one of the first to represent women. In addition to representing Louise Nevelson, Jackson worked with Alma Thomas — who became the first African American woman to mount a solo show at the Whitney Museum of American Art in New York — Lee Krasner , Marisol (Escobar), Barbara Hepworth , and Grace Hartigan . She also championed American artist from beyond

3120-625: The Martha Jackson Collection were exhibited at the National Museum of American Art in 1985. The show featured 127 paintings and sculptures by Americans in Jackson's collection, including works by Joan Mitchell , Grace Hartigan , Frank Lobdell , Michael Goldberg , John Hultberg , Eldzier Cortor , Marisol , Sam Francis , James Brooks , Julian Stanczak , and Alex Katz 's sets for Kenneth Koch 's 1962 play, "George Washington Crossing

3198-470: The Museum of Fine Arts , Boston (2004). In her 16-minute, 16mm film Manhattan Mouse Museum (2011), artist Tacita Dean captured Oldenburg in his studio as he gently handles and dusts the small objects that line his bookshelves. The film is less about the artist's iconography than the embedded intellectual process which allowed him to transform everyday objects into remarkable sculptural forms. Patty Mucha, who

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3276-893: The New York region, like Morris Louis in the 1950s, and Ed McGowin in the 1960s. In the summer of 1960 Jackson mounted the proto-Pop New Forms — New Media exhibition, a subversive show featuring 72 works of art in the Dadaist tradition. The crowded exhibition, dubbed "wild and wacky" and " Neo-Dada " by John Canday in the New York Times, featured both historic and contemporary examples of mixed-media assemblage, high and low found objects that were both groundbreaking yet easily mistaken as household junk. The exhibition included works by Hans Arp , Kurt Schwitters , Alexander Calder , Joseph Cornell , Jean Dubuffet , Robert Mallary , Wilfred Zogbaum , Robert Rauschenberg Bruce Conner , Zoltán Kemény , and Enrico Donatis that pushed against

3354-501: The US, England, Holland, France, Spain, Israel, Japan, and Canada. Among those in her stable were Henry Moore , Louise Nevelson , Lynn Chadwick , Norman Carton , Philip Pavia , Zoltán Kemény , Sam Francis , Grace Hartigan , Paul Jenkins , Lester Johnson , Frank Lobdell , Yaacov Agam , Karel Appel , Alan Davie , William Scott , Yves Gaucher , Jean McEwen , Philippe Hosiasson, and Antoni Tàpies — who had his New York solo debut at

3432-854: The art scene. Oldenburg began toying with the idea of soft sculpture in 1957, when he completed a free-hanging piece made from a woman's stocking stuffed with newspaper. (The piece was untitled when he made it but is now referred to as Sausage .) By 1960, Oldenburg had produced sculptures containing simply rendered figures, letters, and signs, inspired by the Lower East Side neighborhood where he lived, made out of materials such as cardboard, burlap , and newspapers; in 1961, he shifted his method, creating sculptures from chicken wire covered with plaster-soaked canvas and enamel paint, depicting everyday objects – articles of clothing and food items. Oldenburg's first show which included three-dimensional works, in May 1959,

3510-406: The costumes together, and was also a performer in the piece, along with collaborating on happenings, she also as well, sewed his famous floor hamburger, ice cream, and cake. Mucha was lead singer in the band The Druds who were a band of artists including Andy Warhol, LaMonte Young, Lucas Samaras, and Walter DeMaria pre-velvet underground. Between 1969 and 1977, Oldenburg was in a relationship with

3588-434: The definition of public art by its absence of public process or public sanction as "bona fide" public art. Common characteristics of public art are public accessibility, public realm placement, community involvement, public process (including public funding); these works can be permanent or temporary. According to the curator and art/architecture historian, Mary Jane Jacob , public art brings art closer to life. Public art

3666-581: The development of public art during the Great Depression but was wrought with propaganda goals. New Deal art programs were intended to develop national pride in American culture while avoiding addressing the faltering economy. Although problematic, New Deal art programs such as FAP altered the relationship between the artist and society by making art accessible to all people. The New Deal program Art-in-Architecture (A-i-A) developed percent for art programs,

3744-575: The duo is the Free Stamp in downtown Cleveland . In addition to freestanding projects, they occasionally contributed to architectural projects, among them, two Los Angeles projects in collaboration with architect Frank Gehry : Toppling Ladder With Spilling Paint , which was installed at Loyola Law School in 1986, and the building-mounted sculpture Giant Binoculars , completed in Venice Beach in 1991. The couple's collaboration with Gehry also involved

3822-481: The elements (sun, wind, water) as well as human activity. In the United States, unlike gallery, studio, or museum artworks, which can be transferred or sold, public art is legally protected by the Visual Artists Rights Act of 1990 (VARA) which requires an official deaccession process for sale or removal. The following forms of public art identify to what extent public art may be physically integrated with

3900-486: The fact that a curator conducts and supervises the realization of a public art work for a third party, it can also mean that the art work is produced by a community or public who commissions a work in collaboration with a curator-mediator. For the first, significant examples of these prospective manners of commissioning art projects have been established by the Public Art Fund launched by Doris C. Freedman in 1977, with

3978-547: The feminist artist and sculptor, Hannah Wilke , who died in 1993. They shared several studios and traveled together, and Wilke often photographed him. Oldenburg and his second wife, Coosje van Bruggen, met in 1970 when Oldenburg's first major retrospective traveled to the Stedelijk Museum in Amsterdam, where van Bruggen was a curator. The couple married in 1977. In 1992, Oldenburg and van Bruggen acquired Château de la Borde,

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4056-534: The first public and private open-air sculpture exhibitions and collections dating back to the 1930s aimed at creating an appropriate setting for large-scale sculptural forms difficult to show in museum galleries, installations such as Noguchi's Garden in Queens , New York (1985) reflect the necessity of a permanent relationship between the artwork and its site. This relationship also develops in Donald Judd ’s project for

4134-495: The following awards: Brandeis University Sculpture Award, 1971; Skowhegan Medal for Sculpture, 1972; Art Institute of Chicago, First Prize Sculpture Award, 72nd American Exhibition, 1976; Medal, American Institute of Architects , 1977; Wilhelm-Lehmbruck Prize for Sculpture, Duisburg, Germany, 1981; Brandeis University Creative Arts Award for Lifetime Artistic Achievement, The Jack I. and Lillian Poses Medal for Sculpture, 1993; Rolf Schock Foundation Prize , Stockholm, Sweden, 1995. He

4212-526: The form of consumer goods. Oldenburg moved to Los Angeles in 1963 "because it was the most opposite thing to New York [he] could think of". That same year, he conceived AUT OBO DYS , performed in the parking lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965, he turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took

4290-559: The form of small collages such as a crayon image of a fat, fuzzy teddy bear looming over the grassy fields of New York's Central Park (1965) and Lipsticks in Piccadilly Circus, London (1966). In 1967, New York city cultural adviser Sam Green realized Oldenburg's first outdoor public monument; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art in New York City, with

4368-425: The gallery. The gallery also exhibited works by Francis Bacon and Marino Marini , New York School painters like Willem de Kooning , Hans Hofmann , and Adolph Gottlieb , deceased Americans Milton Avery , Alexander Calder , Arshile Gorky , and Marsden Hartley , and emerging artists Lawrence Calcagno , John Hultberg , Lee Krasner , and Norman Bluhm The gallery was the first in the US to exhibit Gutai ,

4446-770: The grounds of the Kröller-Müller Museum in Otterlo in the Netherlands. In 1988, the two created the iconic Spoonbridge and Cherry sculpture for the Walker Art Center in Minneapolis . It remains a staple of the Minneapolis Sculpture Garden as well as a classic image of the city. Typewriter Eraser, Scale X (1999) is in the National Gallery of Art Sculpture Garden . Another well known construction by

4524-486: The history of art. Oldenburg's first recorded sales of artworks were at the 57th Street Art Fair in Chicago, where he sold 5 items for a total price of $ 25. He moved back to New York City in 1956. There he met a number of artists, including Jim Dine , Red Grooms , and Allan Kaprow , whose happenings incorporated theatrical aspects and provided an alternative to the abstract expressionism that had come to dominate much of

4602-459: The immediate context or environment. These forms, which can overlap, employ different types of public art that suit a particular form of environment integration. In the 1930s, the production of national symbolism implied by 19th century monuments began being regulated by long-term national programs with propaganda goals ( Federal Art Project , United States; Cultural Office, Soviet Union). Programs like President Roosevelt's New Deal facilitated

4680-465: The increase of ecological awareness through a green urban design process, bringing Denes to plant a two-acre field of wheat in downtown Manhattan and Beuys to plant 7000 oaks coupled with basalt blocks in Kassel, Germany in a guerrilla or community garden fashion. In recent years, programs of green urban regeneration aiming at converting abandoned lots into green areas regularly include public art programs. This

4758-423: The public realm (for example, graffiti , street art ) lacks official or tangible public sanction has not been recognized as part of the public art genre, however this attitude is changing due to the efforts of several street artists. Such unofficial artwork may exist on private or public property immediately adjacent to the public realm, or in natural settings but, however ubiquitous, it sometimes falls outside

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4836-554: The quality and impact of its exchange with audiences ... at its most public, art extends opportunities for community engagement but cannot demand particular conclusion,” it introduces social ideas but leaves room for the public to come to their own conclusions. Public art is often characterized by community involvement and collaboration. Public artists and organizations often work in conjunction with architects, fabricators/construction workers, community residents and leaders, designers, funding organizations, and others. Public art

4914-655: The roof of the museum. Oldenburg is represented by the Pace Gallery in New York and Margo Leavin Gallery in Los Angeles. In 1989, Oldenburg won the Wolf Prize in Arts . In 2000, he was awarded the National Medal of Arts . Oldenburg received honorary degrees from Oberlin College, Ohio, in 1970; Art Institute of Chicago , Illinois, in 1979; Bard College , New York, in 1995; and Royal College of Art , London, in 1996, as well as

4992-600: The social limits of art; interactive artworks that invited audience participation and blurred the boundaries between painting and sculpture. In the fall of 1960, the gallery launched a second installment of the exhibit, New Forms New Media II, which ran from September 22- October 22. In 1961 Jackson opened Environments, Situations, Spaces , a follow-up to the New Forms — New Media shows. This exhibition consisted of site-specific and interactive works including Spring Cabinet, room of drippy paint buckets by Jim Dine ; Yard ,

5070-415: The town's Minster includes local residents own stories alongside official civic history and the town's origin myth. The term "curated public art" is used to define the way of producing public art that significantly takes into account the context, the process and the different actors involved. It defines itself slightly differently from top-down approaches of direct commissioning. If it mainly designates

5148-406: The work known as Needle, Thread and Knot (Italian: Ago, filo e nodo) which was installed in 2000 in the Piazzale Cadorna . In 2001, Oldenburg and van Bruggen created Dropped Cone , a huge inverted ice cream cone, on top of a shopping center in Cologne , Germany. Installed at the Pennsylvania Academy of the Fine Arts in 2011, Paint Torch is a towering 53-foot-high (16 m) pop sculpture of

5226-563: Was Jim Pallas ' 1980 C entury of Light in Detroit, Michigan of a large outdoor mandala of lights that reacted in complex ways to sounds and movements detected by radar (mistakenly destroyed 25 years later ). Another example is Rebecca Hackemann's two works The Public Utteraton Machines of 2015 and The Urban Field Glass Project / Visionary Sightseeing Binoculars 2 008, 20013, 2021, 2022. The Public Utteraton Machines records people's opinions of other public art in New York, such as Jeff Koon's Split Rocker and displays responses online . In

5304-479: Was "Ray Gun Theater". The cast of colleagues who appeared in his performances included artists Lucas Samaras , Tom Wesselmann , Carolee Schneemann , Oyvind Fahlstrom and Richard Artschwager , art gallerist Annina Nosei , critic Barbara Rose , and screenwriter Rudy Wurlitzer . His first wife (1960–1970) Patty Mucha (Patricia Muchinski), who sewed many of his early soft sculptures, was a constant performer in his happenings. His brash, often humorous, approach to art

5382-424: Was a member of the American Academy and Institute of Arts and Letters from 1975 on and the American Academy of Arts and Sciences from 1978. Oldenburg and Coosje van Bruggen together received honorary degrees from the California College of the Arts , San Francisco, California, in 1996; University of Teesside , Middlesbrough, England, in 1999; Nova Scotia College of Art and Design , Halifax, Nova Scotia, in 2005;

5460-414: Was at great odds with the prevailing sensibility that, by its nature, with "profound" expressions or ideas. But Oldenburg's spirited art found first a niche then a great popularity that endures to this day. In December 1961, he rented a store on Manhattan's Lower East Side to house "The Store", a month-long installation he had first presented at the Martha Jackson Gallery in New York, stocked with sculhly in

5538-463: Was at the Judson Gallery, at Judson Memorial Church on Washington Square . During this time, artist Robert Beauchamp described Oldenburg as "brilliant", due to the reaction that the pop artist brought to a "dull" abstract expressionist period. In the 1960s, Oldenburg became associated with the pop art movement and created many so-called happenings , which were performance art related productions of that time. The name he gave to his own productions

5616-531: Was awarded a prize at the Venice Biennale in the mid 1960s. The gallery was also a leader in the publishing and marketing of artist prints, and ephemera. Jackson and Anderson worked with Jim Dine , Sam Francis , Julian Stanczak , John Hultberg , and Karel Appel on limited editions. Martha Jackson remained connected to her home town of Buffalo, NY and worked with Seymour Knox Jr. , to enter works by Sam Francis , Louise Nevelson , and Antoni Tàpies into

5694-420: Was born into two prominent Buffalo families, the daughter of Cyrena ( née Case; 1884-1931) and Howard Kellogg (1881-1969). She had two brothers, Spencer Kellogg II and Howard Kellogg, Jr. Jackson's mother's family founded and operated W. A. Case & Son Manufacturing Company which was eventually purchased in 1952 by what is now Covanta . Jackson's father was president of Spencer Kellogg & Sons, Inc. ,

5772-554: Was born on January 28, 1929, in Stockholm , the son of Gösta Oldenburg and his wife Sigrid Elisabeth née Lindforss. His father was then a Swedish diplomat stationed in New York and in 1936 was appointed consul general of Sweden to Chicago where Oldenburg grew up, attending the Latin School of Chicago . He studied literature and art history at Yale University from 1946 to 1950, then returned to Chicago where he took classes at The School of

5850-450: Was commissioned in 2016 in Haryana, India, among the remote deciduous terrain of Tikli village a team coordinated by Artist Hunny Mor painted two leopards perched on branches on a water source tank 115 feet high. The campaign was aimed to spread awareness on co-habitation and environmental conservation. The art work can be seen from several miles across in all directions. Ron Finley 's work as

5928-579: Was director of the Museum of Modern Art, New York, between 1972 and 1993, and later chairman of Sotheby's America. On July 18, 2022, Oldenburg died at his home in Manhattan from complications of a fall, aged 93. Oldenburg's sculpture Typewriter Eraser (1976), the third piece from an edition of three, was sold for $ 2.2 million at Christie's New York in 2009. The Whitney Museum of American Art currently houses thirty of Oldenburg's works. Public art Independent art created or staged in or near

6006-572: Was honored with a solo exhibition of his work at the Moderna Museet (organized by Pontus Hultén), in 1966; the Museum of Modern Art , New York, in 1969; London's Tate Gallery in 1970 (chronicled in a 1970 twin-projection documentary by James Scott called The Great Ice Cream Robbery ); and with a retrospective organized by Germano Celant at the Solomon R. Guggenheim Museum , New York, in 1995 (travelling to

6084-605: Was married to Claes Oldenburg from 1960 to 1970, first met him after moving to New York City in 1957 to become an artist. When Oldenburg was painting portraits, Mucha became one of his nude models before becoming his first wife. An Oldenburg drawing of Mucha titled Pat Reading in Bed, Lenox , 1959 is in the collection of the Whitney Museum of American Art. She was a collaborator in Oldenburg's happenings by coming up with ideas together, making

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