Editor's note: The Metropolitan Museum of Art provided source material to Resource Library Magazine for the following article or essay. If you have questions or comments regarding the source material, please contact The Metropolitan Museum of Art directly through either this phone number or web address:
Oldenburg and van Bruggen on the Roof
May 1 - late fall 2002 (weather permitting)
Oldenburg and van Bruggen on the Roof features four sculptures -- created since 1999 -- that have never before been exhibited in New York. These works are based on stereotypical objects of daily life that the artists have transformed, giving them fresh identities and new functions. They are installed in the 10,000-square-foot outdoor space offering spectacular views of Central Park and the Manhattan skyline.
On view are three very large, intensely colored works, on which the husband and wife sculptors have collaborated in recent years: Architect's Handkerchief, 1999, fiber-reinforced plastic painted with polyester gelcoat, 12-1/2 feet high; Corridor Pin, Blue, 1999, stainless steel and aluminum painted with polyurethane enamel, more than 21 feet high; and Plantoir (the French word means dibble or trowel), 2001, stainless steel, aluminum, and fiber-reinforced plastic, painted with polyurethane enamel, nearly 24 feet high. In addition, in the south corners of the Roof Garden, there is a two-part sculpture, Shuttlecock/Blueberry Pies I and II, 1999, cast aluminum painted with acrylic urethane, each four feet high.
Claes Oldenburg was born in Stockholm in 1929 and grew up in Chicago. He attended Yale University, where he concentrated on English and art. He worked in Chicago as a police reporter for the City News Bureau in the early 1950s before studying at the Art Institute of Chicago. He became a U.S. citizen in 1953. In 1956 Oldenburg settled in New York's then-gritty Lower East Side; there, he created the object-filled environments The Street (1960) and The Store (1961) as well as performances based on his surroundings that led to his being hailed an inventor of Pop Art.
Oldenburg went on to make giant soft sculptures, including a 15-foot-long ice-cream cone and a bed-size hamburger, and re-created manufactured objects, such as a light switch or a toilet, in two versions: one hard (made of cardboard or wood) and one soft (made of kapok-filled vinyl or canvas). In the mid-1960s he embarked on what he calls Proposed Colossal Monuments, renderings of startling modifications of familiar locations exquisitely drawn in crayon and watercolor. In Proposed Colossal Monument for Park Avenue, New York: Good Humor Bar (1965), for example, a melting ice-cream bar is substituted for the MetLife Building. A bite out of the bar allows traffic to pass.
From drawings of fantastic monuments Oldenburg moved on to actual or "feasible" monuments. The first, The Lipstick (Ascending) on Caterpillar Tracks (1969, restored 1974), was a 24-foot-tall steel, aluminum, and resin lipstick mounted on a platform on tank treads. It was commissioned by students at the Yale School of Architecture. Intended as a podium for speeches on issues of the day, it was installed in Yale's Beinecke Plaza in front of a Neoclassical building inscribed with the names of World War I battle sites.
In 1976 the 45-foot-tall Clothespin was placed in central Philadelphia. Later that year Oldenburg joined forces with Coosje van Bruggen on the reconstruction and re-siting of the 41-foot-tall Trowel I (1971-76) on the grounds of the Kröller-Müller Museum in Otterlo, the Netherlands. Thus began their collaboration on what van Bruggen was to call Large-Scale Projects, commissioned works permanently placed and emblematic of their site. To date, 40 such projects have been realized in the United States, Europe, and Japan, among them Batcolumn (1977) for Chicago, Spoonbridge and Cherry (1988) for Minneapolis, Bicyclette Ensevelie (Buried Bicycle) (1990) for Paris, Saw, Sawing (1996) for Tokyo, and Ago, Filo e Nodo (Needle, Thread and Knot) (2000) for Milan.
Coosje van Bruggen
Coosje van Bruggen was born in Groningen, the Netherlands, in 1942. Trained in her youth as a ballet dancer, she received a master's degree in art history with a minor in French literature from the University of Groningen. After working as an assistant curator in the Painting and Sculpture Department at the Stedelijk Museum in Amsterdam (1967-71), she became an independent curator. She married Oldenburg in 1977 and moved to the United States the following year. In 1982 she served on the selection committee for Documenta 7 in Kassel. Van Bruggen has been senior critic in the Department of Sculpture at the Yale University School of Art and, together with the curator Mildred Friedman and the architect Billie Tsien, taught a class at the Harvard Design School.
Van Bruggen has written about Oldenburg's early work as well as on the artists Gerhard Richter, Bruce Nauman, John Baldessari, and Hanne Darboven and the architect Frank O. Gehry. In 1985 she created the characters for II Corso del Coltello (The Course of the Knife), a legendary outdoor performance in Venice, Italy, done with Oldenburg and Gehry.
Van Bruggen became an American citizen in 1993. She and Oldenburg live and work in lower Manhattan, in California, and on a centuries-old estate in the Loire Valley, where the presence of nature and another culture (the region was home to such literary figures as Rabelais, Balzac, de Tocqueville, George Sand, and Proust) has affected their recent work ñ for example, the park and garden sculptures placed on the roof.
The team develops ideas through discussions and drawings. They then build models that are enlarged through factory procedures under their close supervision. Unlike most large outdoor sculpture, the works are polychromatic, made using colors formulated by van Bruggen.
The artistic team has to date executed more than 40 sculptures in architectural scale, which have been inserted into various urban surroundings in Europe, Asia, and the United States. These include: Batcolumn, 1977, Harold Washington Social Security Center, 600 West Madison Street, Chicago; Flashlight, 1981, University of Nevada, Las Vegas; Stake Hitch, 1984, Dallas Museum of Art, Dallas, Texas; Spoonbridge and Cherry, 1988, Minneapolis Sculpture Garden, Walker Art Center, Minneapolis; Bicyclette Ensevelie (Buried Bicycle), 1990, Parc de la Villette, Paris; Binoculars (with Frank O. Gehry), 1991, 340 Main Street, Venice, California; Free Stamp, 1991, Willard Park, Cleveland, Ohio; Mistos (Match Cover), 1992, Vall d'Hebron, Barcelona; Inverted Collar and Tie, 1994, Mainzer Landstrasse, Frankfurt am Main, Germany; Saw, Sawing, 1996, Tokyo International Exhibition Center, Big Sight, Tokyo; Ago, Filo e Nodo (Needle, Thread and Knot), 2000, Piazzale Cadorna, Milan; Flying Pins, 2000, Eindhoven, the Netherlands; and Dropped Cone, 2001, Neumarkt Galerie, Kln, Germany. Oldenburg and van Bruggen are currently creating large-scale projects for San Francisco (Cupid's Span) and Denver, Colorado (The Big Sweep).
The exhibition is accompanied by a brochure and related educational programs, including gallery talks, documentary films, and programs for high school students, families, and teachers.
Oldenburg and van Bruggen on the Roof is coordinated by Nan Rosenthal, Consultant in the Department of Modern Art. Exhibition design is by Daniel Kershaw, Exhibition Designer, with graphics by Constance Norkin, Graphic Designer.
Please see our earlier illustrated article on the Claes Oldenburg/Coosje van Bruggen Drawings exhibit at the Whitney Museum of American Art.
Read more articles and essays concerning this institutional source by visiting the sub-index page for the Metropolitan Museum of Art in Resource Library
The Metropolitan Museum of Art web site contains several video presentations. In two 2005 video clips the Met introduces the 25 foot tall large-scale sculpture Plantoir and Corridor Pin, Blue by Claes Oldenburg and Coosje Van Bruggen, installed on the roof of the museum.
Links to sources of information outside of our web site are provided only as referrals for your further consideration. Please use due diligence in judging the quality of information contained in these and all other web sites. Information from linked sources may be inaccurate or out of date. TFAO neither recommends or endorses these referenced organizations. Although TFAO includes links to other web sites, it takes no responsibility for the content or information contained on those other sites, nor exerts any editorial or other control over them. For more information on evaluating web pages see TFAO's General Resources section in Online Resources for Collectors and Students of Art History. Individual pages in this catalogue will be amended as TFAO adds content, corrects errors and reorganizes sections for improved readability. Refreshing or reloading pages enables readers to view the latest updates.
Search for more articles and essays on American art in Resource Library. See America's Distinguished Artists for biographical information on historic artists.
This page was originally published in 2002 in Resource Library Magazine. Please see Resource Library's Overview section for more information.
Copyright 2012 Traditional Fine Arts Organization, Inc., an Arizona nonprofit corporation. All rights reserved.