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Claes Oldenburg

Apple Core - Summer; Apple Core - Autumn; Apple Core - Winter; and Apple Core - Spring, 1990

Four lithographs in colors, John Koller HMP off-white paper, Arches Black Cover paper and Laurence Barker handmade green, with full margins.
40 × 28 2/5 in
101.6 × 72.1 cm
Bidding closed
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About the work
Bibliography
P
Phillips

I. 27 1/2 x 21 in. (69.9 x 53.3 cm)
S. 40 x 28 3/8 in. (101.6 x 72.1 cm)

I. 27 1/2 x 21 in. (69.9 x 53.3 cm)
S. 40 x 28 3/8 in. (101.6 x 72.1 cm)

Signature
All signed and numbered 29/54, 29/58, 29/59 and 29/57 respectively in pencil (there were also 10 or 12 artist's proofs), published by … Read more
Claes Oldenburg
Swedish, b. 1929
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“I am for an art that is political-erotical-mystical, that does something more than sit on its ass in a museum,” wrote Claes Oldenburg in his seminal 1961 manifesto I Am For An Art. From his Happenings beginning in the 1960s, to his enormous public sculptures of ice cream and rubber stamps, to his collaboration with his wife Coosje van Bruggen, Oldenburg has remained at the forefront of the Conceptual and Pop art movements. He has worked in a variety of mediums including performance, drawing, and writing, though he is best known for his large glossy or soft sculptures of ordinary consumer items, such as Lipstick (Ascending) on Caterpillar Tracks (1969-74). Some of Oldenburg’s most radical works remain in the realm of concept, as in his proposal for Thames Ball (1967)—a giant toilet tank ball that would have floated on the Thames River. “I am for an art that grows up not knowing it is art at all,” he wrote. “I am for an artist who vanishes.”

Save
Save
view
View in room
share
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Save
Save
view
View in room
share
Share
About the work
Bibliography
P
Phillips

I. 27 1/2 x 21 in. (69.9 x 53.3 cm)
S. 40 x 28 3/8 in. (101.6 x 72.1 cm)

I. 27 1/2 x 21 in. (69.9 x 53.3 cm)
S. 40 x 28 3/8 in. (101.6 x 72.1 cm)

Signature
All signed and numbered 29/54, 29/58, 29/59 and 29/57 respectively in pencil (there were also 10 or 12 artist's proofs), published by … Read more
Claes Oldenburg
Swedish, b. 1929
Follow

“I am for an art that is political-erotical-mystical, that does something more than sit on its ass in a museum,” wrote Claes Oldenburg in his seminal 1961 manifesto I Am For An Art. From his Happenings beginning in the 1960s, to his enormous public sculptures of ice cream and rubber stamps, to his collaboration with his wife Coosje van Bruggen, Oldenburg has remained at the forefront of the Conceptual and Pop art movements. He has worked in a variety of mediums including performance, drawing, and writing, though he is best known for his large glossy or soft sculptures of ordinary consumer items, such as Lipstick (Ascending) on Caterpillar Tracks (1969-74). Some of Oldenburg’s most radical works remain in the realm of concept, as in his proposal for Thames Ball (1967)—a giant toilet tank ball that would have floated on the Thames River. “I am for an art that grows up not knowing it is art at all,” he wrote. “I am for an artist who vanishes.”

Claes Oldenburg

Apple Core - Summer; Apple Core - Autumn; Apple Core - Winter; and Apple Core - Spring, 1990

Four lithographs in colors, John Koller HMP off-white paper, Arches Black Cover paper and Laurence Barker handmade green, with full margins.
40 × 28 2/5 in
101.6 × 72.1 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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