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Claes OldenburgStriding Figure Conspiracy the Artist as Witness (21, Axsom/Platzker) Signed AP1971
1971
$2,800
£2,163.49
€2,501.19
CA$3,956.60
A$4,437.59
CHF 2,323.90
MX$53,921.08
NOK 29,509.62
SEK 27,977.20
DKK 18,670.10
About the Item
Claes Oldenburg
Striding Figure, from Conspiracy, the Artist as Witness
Color Silkscreen with enamel inks on CM Fabriano cotton watermarked 100% rag paper
Signed and numbered by the artist, front; bears distinctive blind stamp of the publisher, front; title and artist's copyright stamp on the back, APXII
(aside from the regular edition of 150)
28.5 x 20.75 inches
Reference
Axsom 76; Number 21 in "Printed Stuff : Prints, Posters and Ephemera by Claes Oldenburg : A Catalogue Raisonne 1958-1996" by Claes Oldenburg, Richard H. Axsom, David Platzker. New York / Madison, NY / WI : Hudson Hills Press / Madison Art Center, 1997, p
Unframed
Claes Oldenburg's 1962 "Striding Figure", a five-color silkscreen on watermarked 100% handmade rag paper, was proofed by the artist by hand in 1971 for the legendary portfolio "CONSPIRACY: the Artist as Witness", to raise money for the legal defense of the Chicago 8 - a group of anti-Vietnam War activists indicted by President Nixon's Attorney General John Mitchell for conspiring to riot during the 1968 Democratic National Convention. (1968 was also the year Bobby Kennedy was killed and American casualties in Vietnam exceeded 30,000.) The eight demonstrators included Abbie Hoffman, Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner, and Bobby Seale. (Although Abbie Hoffman would later joke that these radicals couldn't even agree on lunch, the jury convicted them of conspiracy. All of the convictions were ultimately overturned by the 7th Circuit Court of Appeals. Many collectors don't know that Oldenburg began his career as a reporter's apprentice and illustrator in Chicago before moving to New York in 1956, so it is fitting that he would choose to participate in this project to raise funds for the Chicago 7. (The original Oldenburg Striding figure is at MOMA - in case you're wondering why you recognize this. We were so excited to see the Museum had our print last visit - until we realized theirs was the original drawing!!)
Catalogue Raisonné Reference: 76, Axsom+Platzker
"Striding Figure" has superb provenance: it comes directly from the original Portfolio: "Conspiracy The Artist as Witness" which also featured works by Alexander Calder, Jack Beal, Romare Bearden Leon Golub-Nancy Spero, Robert Morris, Larry Poons, Peter Saul, Raphael Soyer and Frank Stella, Sol Lewitt- as well as this work by Claes Oldenburg. It was housed in an elegant cloth case, accompanied by a colophon page with information on the artists, and a book with excerpts from the trial. This is the first time since 1971 that this important print has been removed from the original portfolio case for sale. It bears the distinctive chop mark of Styria Studio.
CLAES OLDENBURG BIOGRAPHY:
Born in Sweden, Claes Oldenburg (American, b.1929) is a well-known sculptor associated with the Pop Art movement. While he was a baby, Oldenburg’s family moved to the United States, first settling down in New York, and from 1936 in Chicago, where Oldenburg lived until he attended Yale University. Oldenburg moved to New York in 1956, where he met artists Jim Dine (American, b.1935) and Allan Kaprow (American, 1927–2006), who were working to break the mold of the prior generation of Abstract Expressionists. Oldenburg’s early exhibits in New York feature environments assembled from images, papier mâché, and plaster sculpture, such as his project The Street, which included debris, signs, silhouettes of figures, and other objects evoking an urban setting.
In 1961, Oldenburg staged his most famous happening, The Store, in which he rented space amidst actual shops on the East Side to sell traditional store goods recast as plaster sculptures, exposing the relationship between art and commodities. Naming his performances the product of the invented “Ray Gun Theater,” Oldenburg began to incorporate monumental soft sculptures, made from stuffed vinyl or inflatable materials. These works, sagging with gravity, humorously evoke the human body, forcing viewers to confront everyday objects in radically different circumstances. In 1965, Oldenburg began to design imaginary outdoor monuments, most of which were never realized, with his inflatable Lipstick Ascending, on Caterpillar Tracks being the most notable exception after its installation at Yale University.
From the 1970s onward, Oldenburg focused his attention on large outdoor public sculpture constructed with Cor-Ten steel, such as his Free Stamp, in Cleveland Ohio, Giant Trowel in Otterlo, the Netherlands, and Crusoe Umbrella in Des Moines, Iowa. Oldenburg often collaborated with his wife, artist Coosje van Bruggen (Dutch/American, 1942–2009), on these large-scale projects.
- Creator:Claes Oldenburg (1929, American, Swedish)
- Creation Year:1971
- Dimensions:Height: 28.5 in (72.39 cm)Width: 20.75 in (52.71 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:never framed.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745215018932
Claes Oldenburg
One of the original Pop artists, Claes Oldenburg was born in Stockholm. The son of a Swedish diplomat, he spent his early years in Stockholm and Oslo until the family moved to Chicago in 1937.
Oldenburg attended Yale University, then returned to Chicago, where he worked for a newspaper and also attended drawing classes at the Art Institute. He moved to New York in 1956.
Oldenburg’s early art in New York were works of urban realism in cardboard and paper that were influenced by the work of Dubuffet and the New Realists, and were seen as a brutal response to society. In 1961 Oldenburg rented a storefront on the Lower East Side and sold brightly painted plaster objects as well as three-dimensional and wall reliefs based on hamburgers, pastries, men's and women's clothing, and other commodities. The signature soft sculptures followed, objects of commonplace household objects made of vinyl or canvas stuffed with kapok. These pieces transformed the medium — the soft sculptures are intended to be sensual experiences and commentary on our material world of objects and our relationship to them.
In 1965, still working in vinyl, plaster and cardboard, Oldenburg began making large works termed “Colossal Monuments,” which are large public sculptures with public and private meanings. In the 1970s, Oldenburg was fabricating large-scale works in durable materials such as steel, and working with Coosje van Bruggen, he had received many such public commissions in the United States and Europe.
Find authentic Claes Oldenburg sculptures, prints and other art on 1stDibs.
(Biography provided by Art Commerce)
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