Claes Oldenburg, ‘Tack’, 1980, Joseph K. Levene Fine Art, Ltd.
Claes Oldenburg, ‘Tack’, 1980, Joseph K. Levene Fine Art, Ltd.
Claes Oldenburg, ‘Tack’, 1980, Joseph K. Levene Fine Art, Ltd.
Claes Oldenburg, ‘Tack’, 1980, Joseph K. Levene Fine Art, Ltd.

http://www.josephklevenefineartltd.com/artists/claes-oldenburg/claes-oldenburg-tack.html

Signature: Signed, dated and numbered in pencil by the Artist

Publisher: Landfall Press, co-published by Makoto Ohaka, Yoshiaki Tono, Yoich Yamamoto and Nantenshi Gallery, Tokyo

Axsom, Richard H. and David Platzker. Printed Stuff: Prints, Posters, and Ephemera by Claes Oldenburg, A Catalogue Raisonné 1958-1996. Manchester, Vermont: Hudson Hills Press, 1997, no. 176, p. 329

About Claes Oldenburg

“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.”

Swedish, b. 1929, Stockholm, Sweden, based in New York, New York