History of Arts/Contemporary Art
http://www.oldenburgvanbruggen.com/
@artnstory
2007. 11. 27. 02:22
http://www.oldenburgvanbruggen.com/
* Claes Oldenburg
사고의 전환, 우리가 생각하는 사물의 크기 예를 들면, 먹고 사용하는 일상의 오브제를 사람보다 더 큰 크기로 표현함으로써 알고있던 본래의 의미가 새롭고 다른 각도로 느낄 수 있다.
aluminum, stainless steel, paint
354 x 618 x 162 in.
Gift of Frederick R. Weisman in honor of his parents, William and Mary Weisman, 1988
Claes Oldenburg is best known for his ingenious, oversized renditions of ordinary objects, like the giant "soft" three-way plug and overturned bag of french fries in the Walker's own collection. He and Coosje van Bruggen, his wife and collaborator, had already created a number of large-scale public sculptures, including the Batcolumn in Chicago, when they were asked to design a fountain-sculpture for the planned Minneapolis Sculpture Garden. The spoon had appeared as a motif in a number of Oldenburg's drawings and plans over the years, inspired by a novelty item (a spoon resting on a glob of fake chocolate) he had acquired in 1962. Eventually the utensil emerged--in humorously gigantic scale--as the theme of the Minneapolis project. Van Bruggen contributed the cherry as a playful reference to the Garden's formal geometry, which reminded her of Versailles and the exaggerated dining etiquette Louis XIV imposed there. She also conceived the pond's shape in the form of linden seed. (Linden trees are planted along the allées that stretch before the fountain.) The complex fabrication of the 5,800 pound spoon and 1,200 pound cherry was carried out at two shipbuilding yards in New England. The sculpture has become a beloved icon in the Garden, whether glaceed with snow in the Minnesota winters or gleaming in the warmer months, with water flowing over the surface of the cherry and a fine mist rising from its stem.
* Claes Oldenburg
사고의 전환, 우리가 생각하는 사물의 크기 예를 들면, 먹고 사용하는 일상의 오브제를 사람보다 더 큰 크기로 표현함으로써 알고있던 본래의 의미가 새롭고 다른 각도로 느낄 수 있다.
aluminum, stainless steel, paint
354 x 618 x 162 in.
Gift of Frederick R. Weisman in honor of his parents, William and Mary Weisman, 1988
Claes Oldenburg is best known for his ingenious, oversized renditions of ordinary objects, like the giant "soft" three-way plug and overturned bag of french fries in the Walker's own collection. He and Coosje van Bruggen, his wife and collaborator, had already created a number of large-scale public sculptures, including the Batcolumn in Chicago, when they were asked to design a fountain-sculpture for the planned Minneapolis Sculpture Garden. The spoon had appeared as a motif in a number of Oldenburg's drawings and plans over the years, inspired by a novelty item (a spoon resting on a glob of fake chocolate) he had acquired in 1962. Eventually the utensil emerged--in humorously gigantic scale--as the theme of the Minneapolis project. Van Bruggen contributed the cherry as a playful reference to the Garden's formal geometry, which reminded her of Versailles and the exaggerated dining etiquette Louis XIV imposed there. She also conceived the pond's shape in the form of linden seed. (Linden trees are planted along the allées that stretch before the fountain.) The complex fabrication of the 5,800 pound spoon and 1,200 pound cherry was carried out at two shipbuilding yards in New England. The sculpture has become a beloved icon in the Garden, whether glaceed with snow in the Minnesota winters or gleaming in the warmer months, with water flowing over the surface of the cherry and a fine mist rising from its stem.