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In Artforum’s January 1968 issue, artist Dan Graham wrote an appraisal of sculptor Claes Oldenburg’s many proposals for public monuments, an exhibition of which had been on view at the Museum of Contemporary Art in Chicago. “Rather than attempting to ‘withstand’ or ‘make their mark’ on Nature,” as Graham writes, Oldenburg’s public works “are temporal through their contingent interrelationship with a specific environment.” From Pop Tart Monument to Small Monument for London Street: Fallen Hat (for Adlai Stevenson), from his imagined Ellis Island Monument to the Moving Bat, the artist’s ideas always
“OBJECTS PREVIOUSLY STILL begin to move. The Pizza becomes Fan. The Fan chops. Fragments fly”: Such are the koanic words of Claes Oldenburg, an artist who, at the time of his death this past July at the age of ninety-three, left behind a body of work that ranks among the most influential of the twentieth century. At the dawn of the postwar era of consumption, which ushered a host of new objects into the streets, stores, and homes of America, Oldenburg mounted a singular inquiry into the nature of things their contexts and quiddities, their transmutability, their strange power. To celebrate the