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Lipstick Ascending On Caterpillar Tracks Analysis



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But he was drawing shoes and that sort of thing. His work as an artist came a bit later. I had gone to Los Angeles to make a show with Virginia Dwan. Andy was coming to Los Angeles for the first time to do a show with Irving Blum. We happened to arrive at the same moment. I stayed in L. But really, the soft stuff comes out of Happenings, because of the costumes and props that Patty would sew.

She continued to sew the soft sculptures for me. I would conceive and design them, and we would translate them into patterns. The first big ones were the cake, the cone, and the hamburger. One day a red convertible pulled up outside our cottage and it was Sidney Janis. ROSE: They were recognizable objects. And there was also a democratic urge, I believe. Artists wanted people in some way to be able to recognize things. You mentioned your rules. What were they? ROSE: That work was amazing! It was like a motel bedroom, the whole thing installed at the Sidney Janis Gallery.

It was the reinvention of sculpture, really. Duchamp is known for calling a thing art, rather than making it. A lot of that is picked up in pop art, too—by Andy, for example. So that was the big difference. Mine was not pop art. I maybe started with a subject, but I changed the subject. ROSE: He wanted to be impersonal, and most of your work is very personal. The one I like best is the jello mold of your face—so that you could be served. And it was served at a dinner party back in We had about 50 of them in different colors all lined up. I remember Donald Judd really hated pop art, but he liked your work.

It was more a critique of architecture. That was the first step. And then I started to play around with the possibility of making pieces in an architectural form. And Chicago is the city of architecture. It has struck me that a lot of the subject matter of your work involves food or consumption. I mean, there is no such thing as a perfect lamb chop; you can make all types of lamb chops. And people eat it and it changes and disappears. Also it has an odor, and you can eat it. Because those have to be realized through industrial fabrication. There was a giant ironing board, for example, for the Lower East Side. Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan. And you did do the kinetic Giant Ice Bag [].

ROSE: I love the ice bag. And there was a period in which there was a lot of, shall we say, hangover situations requiring ice bags. ROSE: Of course, everybody takes drugs now. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. I rented an abandoned factory in North Haven, Connecticut, and started to make different things. Pornography became very popular and acceptable. ROSE: The first one of your monuments that was realized had to do with the antiwar movement in The students of Yale actually paid for this first monument, which was Lipstick Ascending on Caterpillar Tracks.

The original idea was that someone who wanted to make a speech could climb on the tank and operate a lever that would inflate the lipstick to draw attention. If the speaker stopped pumping, the lipstick would deflate. For lack of funds, the lever was abandoned and the lipstick stood permanently raised. ROSE: It was built at the high watermark of campus protests. And the university was terrified. But it was the students who demanded this piece be erected—they paid for it to be put on the campus in front of the war memorial.

Fortunately, Yale had Kingman Brewster, a very enlightened president. The campus was a tinderbox. Then the sculpture started to decay bit by bit, and finally I took it away, because it was a wreck. It stood in the Lippincott factory for several years, and then in other enlightened people came into the art department, and they wanted to restore it and put it in a proper situation.

Eventually, the sculpture was placed in Morse College. And there it still stands, and it has now been declared part of the Yale art collection, which took many, many years. Really big. It would fill this whole room. The mouse was commissioned by MoMA, but they reneged on their commission. Later on, they bought a white version. The first architectural-scale sculpture came in with the Clothespin in Philadelphia. It has obvious anthropomorphic associations, but the fact that it was realized is a miracle. There was a lot of back and forth, right? But you had people on your side, like Joan Mondale, the wife of Walter Mondale. We were so lucky to be in that period. One half of one percent of the construction costs of social security buildings or courthouses had to go toward art.

But in the beginning, experts—art-world professionals, art historians, or museum curators—selected the artists. Nobody ever looked at the buildings. And all of a sudden, they saw this terrible inhuman building. So they started hiring architects who could build decent buildings that we could be proud of. Luckily, you continued making your public monuments. Besides, red is not a Chicago color; Chicago is all gray.

Now many buildings have been built around the piece, and it really harmonizes with them. When we started, the area was known as Skid Row. We began accepting projects in Germany, France, Italy, the U. We also made projects for Japan and South Korea. And, of course, a number of works all over the U. The Kreysler factory, north of San Francisco, showed us that works could be made to look soft by using fiberglass.

That was the beginning of a whole new approach. Now, you did go through a long erotic phase. We really should talk about your erotic work. There is no such thing as a perfect lamb chop; you can make all types of lamb chops. ROSE: But there are orgy drawings, for example. Your orgy drawings are very interesting. Did you ever go to an orgy? ROSE: Well, there are different ways of participating. It seemed a boring idea to me. Anyway, would you make a distinction between the erotic and the pornographic? ROSE: I just thought of something. I forgot about that.

Yes, your performances were highly structured. The one I was in, which is called Washes [], was done in a swimming pool. And you did a very famous installation that was called The Store [December 1, January 31, ], where you actually sold things. People who lived out on Long Island who went into New York for fun would get into these thrill clubs, and part of it was that the club would take them to see a Happening.

They would come to The Store and watch, and as far as they were concerned, nothing happened. And then they would file out. It was a dollar to get in. I gave them their dollars back as they were going out. ROSE: Again, the art world was in opposition to this commercial bourgeoisie world. He was so fabulous, so enthusiastic and supportive. Your life changed radically when you met Coosje. I had, over the years, collected things, small things, as people do, and I had put them all together and showed them in what became a building in the form of the Geometric Mouse. But you made the mouse into a building that adults can enter.

And inside was your whole collection of stuff. Not to be confused with your Ray Gun Wing [], with objects you found that look like guns. And America is all about guns. You were going through a period of some confusion and needed advice. I took Bob Morris to her and also Jasper Johns. And there will be a piece of you in every great city in the world.

In the original version, the lipstick was capped with a flimsy fabric peak that required the activation of a mechanical pump to inflate, and rose over twenty feet in the air from the plywood base, fashioned in the shape of an army tank which functioned as a speaker platform. The double reference to female excitement and male impotence was designed to call attention to the absurdity of U. It was removed, ostensibly for the purposes of structural maintenance, and later replaced with the painted metal version shown here, reinstalled on campus outside the Morris College building. The first public artwork installed by the artist, it worked to solidify his alignment with the peace movement, and shaped his goals for larger future commissions.

Corten steel, aluminum, cast resin, polyurethane enamel - Yale University. A series of sketches of imaginary monuments and skyscrapers, completed in the s, served as a blueprint for Oldenburg's signature strategy: reproducing mass-manufactured objects on a scale and in a context where one wouldn't normally find them. This foot high Clothespin , erected outside the entrance to the SEPTA metro station in Philadelphia in , makes people look up before they descending into the subway.

Without presupposing a specific level of education or familiarity with the history of art or sculpture, Clothespin asks us to consider the manner in which small innovations in design transform the way we live. This work was based on a sketch for an imaginary skyscraper and was the artist's first public commission, built in collaboration with the Philadelphia Redevelopment Authority's "one percent for art" program a progressive development in favor of public funding for the arts. The sculpture itself is far from simple Oldenburg's sculptures are never merely enlarged replicas of the things they represent. Among Oldenburg's own clever alterations to the instantly-recognizable object is the augmented angle of the bottom legs further apart, to facilitate broader views of the sculpture from directly beneath it , and its hinge twisted to resemble a 7 and 6 in accordance with the date of the commission, ' Profoundly democratic in its overarching message, like the best of Oldenburg's work, Clothespin is no mere Pop witticism, but a celebration of the role of design in everyday life.

Having ceased locking horns with Abstract Expressionism, Oldenburg's work after grew more abstract, conceptual and site-specific. Stake Hitch , a sculpture commissioned for a large exhibition vault within The Dallas Museum of Art, highlights the manner in which Oldenburg continued to challenge the perspective of the viewer and even some of the institutions that have commissioned his work. Stake Hitch , an arrestingly powerful form that consisted of a bright red aluminum stake and illusionistic rope, transformed the viewer's experience of the soaring vault in an optical illusion - the rope appeared to anchor the ceiling to the floor.

The piece also served as a counterweight to the Sol LeWitt Mural commissioned for the same space. Despite widespread acclaim for the sculpture, it was removed in The current museum director argued that it interfered directly with the display of temporary exhibitions, and no plans to reinstall it have been announced. Stake: aluminum, steel, resin, painted with polyurethane enamel. Rope: polyurethane foam, plastic materials, fiberglass-reinforced plastic, painted with latex - Dallas Museum of Art, Dallas, TX. Paint Torch , an inverted paint brush erected outside the Pennsylvania Academy of Fine Arts in , epitomizes Oldenburg's life-long approach to democratic, site-specific, accessible subject matter multi-layered in its symbolism.

The orange blob on the plaza pavement below the foot-high sculpture lights up, as does its orange tip, celebrating the Pennsylvania Academy of Fine Arts' steadfast commitment to defending painting as the backbone of Western tradition despite significant challenges to painting's supremacy in the late th century. The paintbrush-as-torch motif evokes the most patriotic of figures, the Statue of Liberty.

The diagonal tilt of the piece adds forward thrust, linking its two sections and heightening the implicit eroticism of the phallic form, injecting a note of wry, irreverent humor typical of Oldenburg's refusal to take seriously any form of authority, even or perhaps especially the authority of art. Content compiled and written by The Art Story Contributors. Edited and revised, with Summary and Accomplishments added by Ruth Epstein. The Art Story. Ways to support us.

Movements and Styles: Pop Art. Artwork Images. Allan Kaprow.

Matisse painted Goldfish when he was inspired by Lipstick Ascending On Caterpillar Tracks Analysis trip he had taken to Morocco. This message was posted before February The sculpture itself is far Lipstick Ascending On Caterpillar Tracks Analysis simple Oldenburg's sculptures Lipstick Ascending On Caterpillar Tracks Analysis never merely enlarged replicas of the things Personal Narrative: My Vacation To Hawaii represent.