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Claes Oldenburg

Geometric Mouse -- Scale D, 1971

Die-cut laminated photo-offset lithograph printed paper, stainless steel wire and chains, and nickel-plated fasteners
17 1/2 × 14 in
44.5 × 35.6 cm
Bidding closed
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About the work
HA
Heritage Auctions

Open Edition

Published by Gemini G.E.L., Los Angeles

Condition Report: Moderate to heavy edge wear …

Read more

Open Edition

Published by Gemini G.E.L., Los Angeles

Condition Report: Moderate to heavy edge wear to the left half of sculpture; moderate light and time staining to the reverse; two areas of skinning to the reverse; a few mild scattered scratches to the face.

Signature
Initaled and dated on the face, with publisher's copyright
Image rights
Courtesy of Heritage Auctions
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.”

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Save
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view
View in room
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Save
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view
View in room
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About the work
HA
Heritage Auctions

Open Edition

Published by Gemini G.E.L., Los Angeles

Condition Report: Moderate to heavy edge wear …

Read more

Open Edition

Published by Gemini G.E.L., Los Angeles

Condition Report: Moderate to heavy edge wear to the left half of sculpture; moderate light and time staining to the reverse; two areas of skinning to the reverse; a few mild scattered scratches to the face.

Signature
Initaled and dated on the face, with publisher's copyright
Image rights
Courtesy of Heritage Auctions
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

Geometric Mouse -- Scale D, 1971

Die-cut laminated photo-offset lithograph printed paper, stainless steel wire and chains, and nickel-plated fasteners
17 1/2 × 14 in
44.5 × 35.6 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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