Is Pop Culture Killing modern Art ?

Philosopher David Novitz has argued that disagreement about the definition of art are rarely the heart of the problem. Rather, “the passionate concerns and interests that humans vest in their social life” are “so much a part of all classificatory disputes about art” (Novitz, 1996). According to Novitz, classificatory disputes are more often disputes about societal values and where society is trying to go than they are about theory proper. For example, when the Daily Mail criticized Hirst’s and Emin’s work by arguing “For 1,000 years art has been one of our great civilizing forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all” they are not advancing a definition or theory about art, but questioning the value of Hirst’s and Emin’s work. In 1998, Arthur Danto, suggested a thought experiment showing that “the status of an artifact as work of art results from the ideas a culture applies to it, rather than its inherent physical or perceptible qualities. Cultural interpretation (an art theory of some kind) is therefore constitutive of an object’s arthood.”

$Damien Hirst’s 66ft sculpture of a naked pregnant woman will remain in the seaside town of Ilfracombe in Devon for 20 years. The statue of the woman – named Verity – holding aloft a sword and standing on a base of legal books is meant to be a “modern allegory of truth and justice.”$

Damien Hirst’s 66ft sculpture of a naked pregnant woman will remain in the seaside town of Ilfracombe in Devon for 20 years. The statue of the woman – named Verity – holding aloft a sword and standing on a base of legal books is meant to be a “modern allegory of truth and justice.”

A famous American culture critic has announced he is quitting the world of art as he claims it has become obsessed with celebrities and money.

Dave Hickey attacks the contemporary arts scene saying anyone who has ‘read a Batman comic’ can make a career for themselves in art.

The professor and author condemns the ‘tourist mentality’ of the industry, complaining it has led to well-known artists being overestimated.

The 71-year-old arts and culture critic said it has become ‘calcified, self-reverential and a hostage to rich collectors who have no respect for what they are doing’.

‘Art editors and critics – people like me – have become a courtier class,’ he told The Observer.

‘All we do is wander around the palace and advise very rich people. It’s not worth my time.’

‘If I go to London, everyone wants to talk about Damien Hirst. I’m just not interested in him. Never have been.’

Mr Hickey said the emergence of arts consultants has led to collectors buying what they have been told is great art, instead of forming their own opinion. excerpt by Sara Malm for the Daily Mail

Is the emperor naked or not ? We selected some of the comments regarding Mr. Hickey statements

He is so right. I sit on a museum board and it’s distressing how many talented artists, young and old, can’t get representation or make a living wage because galleries are obsessed with either the old and proven or the new and shocking. Art is all about marketing now. And collectors are generally looking for two things: “trophy” pieces by big names and the chance to make an obscene profit selling them at Christies in five years time.

- Sphinx, East Coast, United States, 29/10/2012 13:11

Tom Stoppard got it right when he said: ‘Imagination without skill gives us modern art.’ I wish someone in Ilfracombe would either put a dress on Verity (or even better) steal her and melt her down for scrap.

- Bluebell, Durham, 29/10/2012 14:43

Alas Mr. Hickey, you are a voice in the wilderness. Turn your head through 360degrees and it will always point in the direction of money making money in the art world. The auction houses, the business men, the investments funds are purveyors, purchasers and drivers of value, first. The fact that they can express some knowlege of provence and history is no more than might be expected of any business’expert’ brought in to manage a business – his primary concern is to get the business to make money, by which he makes his money, and that means hype, exposure and promotion, whatever the product. If the message is strong, the commercial sheep will follow. A never-ending tale.

- ronbow, neath, 29/10/2012 12:01

Just an observation, but the only cogent point of this whole article is the hinting at the cyclical nature of art. This generation will breed an avant garde artists who will seek to break the mold and transform art in ways we won’t appreciate until its too late. – Rachel, York, 29/10/2012 11:07 Tosh !

- Alfie Noakes, Stories Of The north, 29/10/2012 11:53

It’s Emperor’s new clothes, only the pretentious rich fools invest in conceptual art. The likes of Damien Hirst, Tracey Emin and their galleries are laughing behind their customers backs. Talent requires no explanation. When you see it, you’ll know it.

- Him, Over there, 29/10/2012 9:54

He is so right but it is not just art, it seems to apply to everything in society where the stupid and gullible are so easily manipulated and readily parted from their money, anything by Hirst or Emin I would not even wish to display in my garden shed, prentious rubbish fawned over by idiots.

- richiefannee, Woking, United Kingdom, 29/10/2012 8:59

How right he is. Tracey Emin’s unmade bed must have been one of the biggest jokes of the art world. There must be zillions of those around the world every morning. The funniest thing about is is that when a cleaning lady tidied it all up and made the bed Tracey Emin was able to ‘recreate’ her work or art in next to no time. That says it all really doesn’t it.

- Me and Himself, Somewhereland, 29/10/2012 8:56

I hate how when it popped into Hirst’s inflated head to preserve a shark in formaldehyde, he put an advert out and in no time some brainless cowboy had hunted a shark for him. When the preservation process didn’t work properly, another advert went out and hey-ho another shark was caught and butchered. I endorse every word David Hickey says. Loved the last comment about the art world now resembling the stifling, narrow-minded Paris salon of the 19th century. We need a new movement, led by David Hickey, to break away a la the impressionists and endorse art for its INTRINSIC qualities – with checks on whether any animal – whether a cow or a fly – has been killed in the process and whether children would have nightmares. Google “the institutional theory of art” which is debated in philosophy: when art becomes about money and status at the expense of vision and skill and expression.

- new reality, east anglia, 29/10/2012 8:44

I love Damien Hirst, Tracey Emin etc. I also love the classical paintings. It’s just moving with the times. I think the art is in the controversy and the concept. – missy , Essex, Uk, 29/10/2012 07:15 Couldn’t disagree more. Art is part skill and accomplishment, and part communication, using media to provide insight. Modern art is part shock value, and part celebrity guff. They attempt to prove that there can be insight without accomplishment, and as such they lack any credibility. Like when somebody has just demonstrated they are fantastically bad at something, and then try and convince you that the something has no purpose or value – or that doing something badly is somehow clever or ironic. It’s the emperor’s new clothes – and finally the little boy has said what most of us have been thinking for 20 years or more.

- Realist, At the end of tolerance, 29/10/2012 7:40

The nature of art is subjective, relates to your perspective and can be perplexing at times; need I say any more?

- josh, Kent UK, 29/10/2012 1:40

It’s not just the rich is it though. People keep buying prints on canvas from high street chains, Ikea and Argos. Paying ridiculous amounts for prints that have been produced tens of thousands of times. A piece of art is for generations to enjoy. It lasts more than a couple of years, it lasts longer than you are planning to live. It frustrates me to see that the general population almost never buys an original piece of art. £200 – £500 is not a big ask from an artist considering the countless hours spent producing the piece. Never mind the countless hours getting to that level. POP culture is killing the art world. Start using your brains people.

- pyrite, York, United Kingdom, 29/10/2012 1:15

Who can bear any longer to look at the gurning stupid visages of Hirst and Emin? They exploited the post punk ethos to trick their way into the art world and always look to me like grown up children astounded that they got to steal all the presents and keep them. That Emin votes conservative says all you need to know about the level of narcissism and selfishness we are dealing with here. These artists display the worst traits of Thatchers children; obscene opportunism, a rather gloating projected vanity and at the core of it all: a large helping of nothing that they managed to sell to a herd of fawning pseudo intellectual cattle.

- Paolo, london, 28/10/2012 23:12

Although I do agree contemporary art has become too celebrity obsessed, I rather like much of Hirst’s work personally. Most of it is very much about the fragility of life, a memento mori, as is the Ilfracombe statue. We may not like to be reminded of that, but it[‘s a legitimate role for an artist. For those who say contemporary artists are line managers, you have to realise that every stroke of the great frescoes of the past was usually NOT painted by one person. Prints produced by great painters are actually produced by a team of technicians. It takes an orchestra to play Mozart, a mass of people to produce “Christopher Wren’s” St Paul’s cathedral. Art is’t always one person making one painting.

- Hughie, Hong Kong, 28/10/2012 22:26

Look,there is so much looted money out there that has to be laundered,by buying so called modern art you can say you paid whatever price you like to make up.These so called works of art do not have to be valued by anyone,they just have to have a name attached,like hirst or emin.Like the kings new clothes you do not have to prove their value,or merit.

- charlie, herts, 28/10/2012 21:32

As in

http://www.bbc.co.uk/news/uk-england-devon-19883351

http://www.dailymail.co.uk/news/article-2224413/Art-critic-quits-modern-art-self-reverential-industry-focused-celebrities-money.html

http://www.mirror.co.uk/news/uk-news/damien-hirst-verity-statue-of-pregnant-1368090

http://en.wikipedia.org/wiki/Art#Controversies

Dutton, Denis Tribal Art in Encyclopedia of Aesthetics, edited by Michael Kelly (New York: Oxford University Press, 1998).

Danto, Arthur. “Artifact and Art.” In Art/Artifact, edited by Susan Vogel. New York, 1988.

http://www.thetimes.co.uk/tto/arts/visualarts/article3601517.ece

http://www.bbc.co.uk/news/entertainment-arts-19881524

A pop creep named Andy Warhol, like a spoiled campbell soup

Turquoise Marilyn, 1964 by Andy Warhol

“How can you say one style is better than another? You ought to be able to be an Abstract Expressionist next week, or a Pop artist, or a realist, without feeling you’ve given up something.. I think that would be so great, to be able to change styles. And I think that’s what’s is going to happen, that’s going to be the whole new scene.”

The messenger instead of the message:

Mention the school of Pop Art to casual art lovers and you’ll immediately get the response, “Andy Warhol.” Warhol sucks up most of the oxygen in any discussion of Pop, with Roy Lichtenstein, Jasper Johns, and a few others getting in the rare gasp. With the death at 89 years of age of Richard Hamilton, whose 1956 collageJust what is it that makes today’s homes so different, so appealing? (detail shown above) many consider to be the first Pop Art work, it might be the right time to ask if Hamilton, and not Warhol, is the true king of Pop Art.

«Andy Warhol was the most successful and highly paid commercial illustrator in New York even before he began to make art destined for galleries. Nevertheless, his screenprinted images of Marilyn Monroe, soup cans, and sensational newspaper stories, quickly became synonymous with Pop Art. He emerged from the poverty and obscurity of an Eastern European immigrant family in Pittsburgh, to become a charismatic magnet for bohemian New York, and to ultimately find a place in the circles of High Society. For many his ascent echoes one of Pop Art’s ambitions, to bring popular styles and subjects into the exclusive salons of high art. His elevation to the status of a popular icon represented a new kind of fame and celebrity for a fine artist.»

The rare and iconic self-portrait by Andy Warhol was refused by his dealer as ‘too prophetic’. Photograph: Lee Durant/Lee Durant / National News and Pictures

Pop Art popped up around the world in various guises generally after the end of World War II. The “peace dividend,” only slightly offset by the cost of the simmering Cold War, led to a proliferation of commercial advertising that continues to this day. Swimming in this sea of commercialism, Hamilton, a devotee of Dada and Surrealism and, above all else, an acolyte of Duchamp, took the lessons of those movements and applied them to life in the mid-1950s. Just what is it that makes today’s homes so different, so appealing? literally elevates kitsch to high art, as symbolized by the framed comic book cover against the wall. The body builder on the left and naked woman on the right embody the commodification of the human form into just another business transaction—something to be marketed to relentlessly, idealized in the name of selling deodorant and toothpaste. The collage collects all the ideas of pre-World War II anti-establishment art and updates them for the very different post-war world.

Just What Is It That Makes Today’s Home So Different, So Appealing, Richard Hamilton 1956

What separates Hamilton from Warhol, Lichtenstein, and other contenders for the King of Pop Art is that ability to take those complex ideas and apply them to the cultural debris of a less serious time. Warhol rightfully earns credit for his appropriation of commercial advertising in Campbell’s Soup Cans and for his rechanneling of the star power of Marilyn Monroe, Elvis Presley, and others to his own purposes. Above all, Warhol’s superhuman self-promotional skills set him above the others. By extending his “15 minutes of fame” across the decades, even after death, Warhol overshadowed and almost erased the name of Hamilton.

At the time of his death, Hamilton was cooperating with curators on a major retrospective of his work to tour his native England and America in 2013. Perhaps Hamilton’s reputation will rise to the top during that retrospective, reducing Warhol not to obscurity, but perhaps to a more justified position as the artist and personality he truly was.

KEY IDEAS about how Warhol

+Warhol’s early commercial illustration has recently been acclaimed as the arena in which he first learned to manipulate popular tastes. His drawings were often comic, decorative, and whimsical, and their tone is entirely different from the cold and impersonal mood of his Pop Art.

+Much debate still surrounds the iconic screenprinted images with which Warhol established his reputation as a Pop artist in the early 1960s. Some view his Death and Disaster series, and his Marilyn pictures, as frank expressions of his sorrow at public events. Others view them as some of the first expressions of ‘compassion fatigue’ – the way the public loses the ability to sympathize with events from which they feel removed. Still others think of his pictures as screens – placed between us and horrifying events – which attempt to register and process shock.

+Although artists had drawn on popular culture throughout the 20th century, Pop art marked an important new stage in the breakdown between high and low art forms. Warhol’s paintings from the early 1960s were important in pioneering these developments, but it is arguable that the diverse activities of his later years were just as influential in expanding the implications of Pop art into other spheres, and further eroding the borders between the worlds of high art and popular culture.

+Although Warhol would continue to create paintings intermittently throughout his career, in 1965 he officially retired from the medium to concentrate on making experimental films. Despite years of neglect, these films have recently attracted widespread interest, and Warhol is now seen as one of the most important filmmakers of the period.

+Critics have traditionally seen Warhol’s career as going into decline in 1968, after he was shot by Valerie Solanas. Valuing his early paintings above all, they have ignored the activities that absorbed his attention in later years – films, parties, collecting, publishing, and painting commissioned portraits. Yet some have begun to think that all these ventures make up Warhol’s most important legacy because they prefigure the diverse interests, activities, and interventions that occupy artists today.

Andy Warhol Life and Art Periods

http://www.theartstory.org/artist-warhol-andy.htm

http://bigthink.com/Picture-This/richard-hamilton-the-real-king-of-pop-art

I am for an art… by Claes Oldenburg

Claes Oldenburg and Coosje van Bruggen
Spoonbridge and Cherry, 1985-1988
aluminum, stainless steel, paint
354 x 618 x 162 in.

I am for an art …

by Claes Oldenburg

I am for an art that is political-erotical-mystical, that does something other than sit on its ass in a museum.

I am for an art that grows up not knowing it is art at all, an art given the chance of having a staring point of zero.

I am for an art that embroils itself with the everyday crap & still comes out on top.

I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.

La pedale

I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.

I am for an artist who vanishes, turning up in a white cap painting signs or hallways.

Giant Ice Bag

I am for an art that comes out of a chimney like black hair and scatters in the sky.

I am for an art that spills out of an old man’s purse when he is bounced off a passing fender.

Water blando

I am for the art out of a doggy’s mouth, falling five stories from the roof.

I am for the art that a kid licks, after peeling away the wrapper.

I am for an art that joggles like everyones knees, when the bus traverses an excavation.

I am for art that is smoked, like a cigarette, smells, like a pair of shoes.

I am for art that flaps like a flag or helps blow noses, like a handkerchief.

I am for art that is put on and taken off, like pants, which develops holes, like socks, which is eaten, like a piece of pie, or abandoned with great contempt, like a piece of shit.

Apple

I am for art covered with bandages, I am for art that limps and rolls and runs and jumps. I am for art comes in a can or washes up on the shore.

I am for art that coils and grunts like a wrestler. I am for art that sheds hair.

Mostrador de lenceria

I am for art you can sit on. I am for art you can pick your nose with or stub your toes on.

I am for art from a pocket, from deep channels of the ear, from the edge of a knife, from the corners of the mouth, stuck in the eye or worn on the wrist.

I am for art under the skirts, and the art of pinching cockroaches.

City hall and clothespin

I am for the art of conversation between the sidewalk and a blind mans metal stick.

Simbolo de Pepsi Cola

I am for the art that grows in a pot, that comes down out of the skies at night, like lightning, that hides in the clouds and growls. I am for art that is flipped on and off with a switch.

Schroefboog

I am for art that unfolds like a map, that you can squeeze, like your sweetys arm, or kiss, like a pet dog. Which expands and squeaks, like an accordion, which you can spill your dinner on, like an old tablecloth.

Horno con carne

I am for an art that you can hammer with, stitch with, sew with, paste with, file with.

I am for an art that tells you the time of day, or where such and such a street is.

Crusoe umbrella

I am for an art that helps old ladies across the street.

I am for the art of the washing machine. I am for the art of a government check. I am for the art of last wars raincoat.

Porto

I am for the art that comes up in fogs from sewer-holes in winter. I am for the art that splits when you step on a frozen puddle. I am for the worms art inside the apple. I am for the art of sweat that develops between crossed legs.

I am for the art of neck-hair and caked tea-cups, for the art between the tines of restaurant forks, for odor of boiling dishwater.

DeYoung

I am for the art of sailing on Sunday, and the art of red and white gasoline pumps.

I am for the art of bright blue factory columns and blinking biscuit signs.

Station Eindhoven kunstwerk

I am for the art of cheap plaster and enamel. I am for the art of worn marble and smashed slate. I am for the art of rolling cobblestones and sliding sand. I am for the art of slag and black coal. I am for the art of dead birds.

Untitled

I am for the art of scratchings in the asphalt, daubing at the walls. I am for the art of bending and kicking metal and breaking glass, and pulling at things to make them fall down.

I am for the art of punching and skinned knees and sat-on bananas. I am for the art of kids’ smells. I am for the art of mama-babble.

I am for the art of bar-babble, tooth-picking, beerdrinking, egg-salting, in-sulting. I am for the art of falling off a bartstool.

Untitled

I am for the art of underwear and the art of taxicabs. I am for the art of ice-cream cones dropped on concrete. I am for the majestic art of dog-turds, rising like cathedrals.

I am for the blinking arts, lighting up the night. I am for art falling, splashing, wiggling, jumping, going on and off.

I am for the art of fat truck-tires and black eyes.

Spitzhacke

I am for Kool-art, 7-UP art, Pepsi-art, Sunshine art, 39 cents art, 15 cents art, Vatronol Art, Dro-bomb art, Vam art, Menthol art, L & M art Ex-lax art, Venida art, Heaven Hill art, Pamryl art, San-o-med art, Rx art, 9.99 art, Now art, New ar, How art, Fire sale art, Last Chance art, Only art, Diamond art, Tomorrow art, Franks art, Ducks art, Meat-o-rama art.

I am for the art of bread wet by rain. I am for the rat’s dance between floors. I am for the art of flies walking on a slick pear in the electric light. I am for the art of soggy onions and firm green shoots. I am for the art of clicking among the nuts when the roaches come and go. I am for the brown sad art of rotting apples.

Spoonbridge with Cherry

I am for the art of meowls and clatter of cats and for the art of their dumb electric eyes.

I am for the white art of refigerators and their muscular openings and closing.

I am for the art of rust and mold. I am for the art of hearts, funeral hearts or sweetheart hearts, full of nougat. I am for the art of worn meathooks and singing barrels of red, white, blue and yellow meat.

Eistute

I am for the art of things lost or thrown away, coming home from school. I am for the art of cock-and-ball trees and flying cows and the noise of rectangles and squares. I am for for the art of crayons and weak grey pencil-lead, and grainy wash and sticky oil paint, and the art of windshield wipers and the art of the finger on a cold window, on dusty steel or in the bubbles on the sides of a bathtub.

I am for the art of teddy-bears and guns and decapitated rabbits, explodes umbrellas, raped beds, chairs with their brown bones broken, burning trees, firecracker ends, chicken bones, pigeon bones, and boxes with men sleeping in them.

Giant Poolballs

I am for the art of slightly rotten funeral flowers, hung bloody rabbits and wrinkly yellow chickens, bass drums & tambourines, and plastic phonographs.

I am for the art of abandoned boxes, tied like pharohs. I am for an art of watertanks and speeding clouds and flapping shades.

Balancing Tools

I am for U.S. Government Inspected Art, Grade A art, Regular Price art, Yellow Ripe art, Extra Fancy art, Ready-to-eat art, Best-for-less art, Ready-to-cook art, Fully cleaned art, Spend Less art, Eat Better art, Ham art, Pork art, chicken art, tomato art, bana art, apple art, turkey art, cake art, cookie art.

add:

I am for an art that is combed down, that is hung from each ear, that is laid on the lips and under the eyes, that is shaved from the legs, that is burshed on the teeth, that is fixed on the thighs, that is slipped on the foot.

square which becomes blobby

May 1961

( German: “Ich bin für eine Kunst, die sich auf den alltäglichen Mist einläßt und doch siegreich bleibt”, Claes Oldenburg (1961). )

Binoculars
1991

Claes Oldenburg

b. 1929, Stockholm

Claes Oldenburg was born in 1929, in Stockholm. His father was a diplomat, and the family lived in the United States and Norway before settling in Chicago in 1936. Oldenburg studied literature and art history at Yale University, New Haven, from 1946 to 1950. He subsequently studied art under Paul Wieghardt at the Art Institute of Chicago from 1950 to 1954. During the first two years of art school, he also worked as an apprentice reporter at the City News Bureau of Chicago, and afterward opened a studio, where he made magazine illustrations and easel paintings. Oldenburg became an American citizen in December 1953.

In 1956 he moved to New York and met several artists making early Performance work, including George Brecht, Allan Kaprow, George Segal, and Robert Whitman. Oldenburg soon became a prominent figure in Happeningsand Performance art during the late 1950s and early 1960s. In 1959 the Judson Gallery exhibited a series of Oldenburg’s enigmatic images, ranging from monstrous human figures to everyday objects, made from a mix of drawings, collages, and papier-mâché. In 1961, he opened The Store in his studio, where he recreated the environment of neighborhood shops. He displayed familiar objects made out of plaster, reflecting American society’s celebration of consumption, and was soon heralded as a Pop artist with the emergence of the movement in 1962.

Oldenburg realized his first outdoor public monument in 1967; Placid Civic Monument took the form of a Conceptual performance/action behind the Metropolitan Museum of Art, New York, with a crew of gravediggers digging a 6-by-3-foot rectangular hole in the ground. Beginning in the mid-1960s, he also proposed colossal art projects for several cities, and by 1969, his first such iconic work, Lipstick (Ascending) on Caterpillar Tracks, was installed at Yale University. Most of his large-scale projects were made with the collaboration of Coosje van Bruggen, whom he married in 1977. In the mid-1970s and again in the 1990s, Oldenburg and Van Bruggen collaborated with the architect Frank Gehry, breaking the boundaries between architecture and sculpture. In 1991 Oldenburg and Van Bruggen executed a binocular-shaped sculpture-building as part of Gehry’s Chiat/Day building in Los Angeles.

Over the past three decades, Oldenburg’s works have been the subject of numerous performances and exhibitions. In 1985 Il Corso del Coltello was performed in Venice. It included Knife Ship I, a giant Swiss Army knife equipped with oars; for the performance, the ship was set afloat in front of the Arsenal in an attempt to combine art, architecture, and theater. Knife Ship I traveled to museums throughout America and Europe from 1986 to 1988. Oldenburg was honored with a solo exhibition of his work at the Museum of Modern Art, New York, in 1969, and with a retrospective organized by the National Gallery of Art, Washington, D.C., and the Solomon R. Guggenheim Museum, New York, in 1995. 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 the roof of the museum. Oldenburg lives and works in New York, California, and a chateau in the Loire Valley, France.

Source: Store Days

As in:

http://userpages.chorus.net/burleigh/art/iam4.html

http://www.okpaul.com/Oldenburg.pdf

http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Claes%20Oldenburg

http://www.oldenburgvanbruggen.com/

http://www.all-art.org/art_20th_century/oldenburg1.html

All images are property of the authors.

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Tag Archives: pop art

Is Pop Culture Killing modern Art ?

Is Pop Culture Killing modern Art ?

Is the emperor naked or not ? We selected some of the comments regarding Mr. Hickey statements

A pop creep named Andy Warhol, like a spoiled campbell soup

KEY IDEAS about how Warhol

I am for an art… by Claes Oldenburg

Claes Oldenburg and Coosje van Bruggen
Spoonbridge and Cherry, 1985-1988
aluminum, stainless steel, paint
354 x 618 x 162 in.

I am for an art …

by Claes Oldenburg

Claes Oldenburg

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I am for an art …

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Claes Oldenburg and Coosje van Bruggen
Spoonbridge and Cherry, 1985-1988
aluminum, stainless steel, paint
354 x 618 x 162 in.

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