Top 60 Claes Oldenburg Quotes
#1. Andy [Warhol] was on the scene, but he wasn't an artist at first; he was more an illustrator. He was always surrounded by about ten people who worshipped him. He'd go to a party and they would all come along. But he was drawing shoes and that sort of thing.
Claes Oldenburg
#2. Food is like clay; you can sculpt with it. Also it has an odor, and you can eat it. I don't eat a lot of cake, but I do make cakes! And unlike the Campbell's Soup Cans, my food is a humanized form and scale.
Claes Oldenburg
#3. They asked me to do a show, and I was planning on showing my figure paintings. But my friends told me I shouldn't - the paintings were good but a little old-fashioned. They said, "Why don't you show the other stuff?" I had also been making rather strange objects, more in the Freudian tradition.
Claes Oldenburg
#4. Painting, especially much better than words, allows oneself to express the various stages of thought, including the deeper levels, the underground stages of the mental process.
Claes Oldenburg
#5. I am for an art that is political-erotical-mystical, that does something more than sit on its ass in a museum.
Claes Oldenburg
#6. I think the Freudian impulse is in everything, so I just accept it. I don't always believe what Freud is saying but it sounds like fun.
Claes Oldenburg
#7. My rule was not to paint things as they were. I wasn't copying; I was remaking them as my own.
Claes Oldenburg
#9. For a thorough use of ice cream cones, buy two; eat one and drop the other.
Claes Oldenburg
#10. The main reason for the colossal objects is the obvious one, to expand and intensify the presence of the vessel - the object.
Claes Oldenburg
#11. The art world was very small and the people got together at parties. There was less commercialism.
Claes Oldenburg
#12. I am for an art of things lost or thrown away ... I am for an art that one smokes like a cigarette ... I am for an art that flutters like a flag.
Claes Oldenburg
#13. I just started to do my own thing for about a year and a half, and I worked in the evening selling phonograph records. Then I said to myself, "I'm afraid I have to go to New York after all."
Claes Oldenburg
#14. Judson Church was a very important place because they believed in art. They also took care of drug addicts. Without the Judson, nothing could have happened.
Claes Oldenburg
#15. The sexual is part of everything, and it's highly formalized. I hadn't done figure for a long time. And I thought to myself, "Why not the erotic figure?"
Claes Oldenburg
#16. Actually, New York is great for playing around. I made a lot of studies for New York-a big vacuum cleaner lying on the Battery in Manhattan.
Claes Oldenburg
#17. I am for an art that grows up not knowing it is art at all.
Claes Oldenburg
#18. The thing about the ray gun is, you pick up anything you see on the street that's the shape of a gun.
Claes Oldenburg
#19. I started to draw buildings. I called them Proposed Colossal Monuments - they weren't for real, not for actual building. It was more a critique of architecture.
Claes Oldenburg
#20. I'm always careful to say that I changed everything I found.
Claes Oldenburg
#21. Art is a technique of communication. The image is the most complete technique of all communication.
Claes Oldenburg
#22. I like to treat paint as material - to daub it, drop it, let it slide. There was Action Painting, but I also compare it to paint effects found on the streets. This approach is superimposed on a sculptural surface that is also 'painterly.'
Claes Oldenburg
#23. Ox-Bow was a very free place, very open. You could do whatever you wanted to do.
Claes Oldenburg
#24. It was easy to get a job at the Cedar Bar because people came and went, but I didn't like the atmosphere. Instead, I got a job at Cooper Union Library. I stayed at Cooper Union for seven years; it was my salvation. While I worked there, I also read books of every kind.
Claes Oldenburg
#25. I always knew America was all about guns. You go to the movies as a kid, everybody's got a gun.
Claes Oldenburg
#26. I knew I wasn't that good a writer, and all I could remember was that I could draw. I'm better at drawing than I am at writing.
Claes Oldenburg
#27. You can take an object and simply put anything you want in that object, and I accessed that partly through Freudian ideas.
Claes Oldenburg
#28. Of course, the '60s was a study in decadence. Everything just got worse and worse, and at the end of the '60s, everything was so horrible that people were killing each other.
Claes Oldenburg
#29. In 1958 I finally found a large enough apartment on the Lower East Side, where I reverted to figure painting. I drew and painted quite a lot of figures and nudes. People would come and pose for me.
Claes Oldenburg
#30. I had, over the years, collected things, small things, as people do, and I had put them all together and showed them in what became a building in the form of the Geometric Mouse.
Claes Oldenburg
#31. My work doesn't have the same rules as, say, Andy [Warhol]'s work. But it's gathered together for the simple reason that we all worked with the images and objects around us.
Claes Oldenburg
#33. If I didn't think what I was doing had something to do with enlarging the boundaries of art, I wouldn't go on doing it.
Claes Oldenburg
#34. I am for an art that tells you the time of day, or where such and such a street is. I am for an art that helps old ladies across the street.
Claes Oldenburg
#35. I like food because you can change it. I mean, there is no such thing as a perfect lamb chop; you can make all types of lamb chops. And that's true of everything. And people eat it and it changes and disappears.
Claes Oldenburg
#36. I'm in favor of an art that does something other than just sit on its ass in a museum.
Claes Oldenburg
#37. I am an immigrant in a sense. What happened was that my father was stationed in New York when my mother became pregnant, and she said, "I've got to go to Sweden so this child can be born there, because you don't have any idea where you're going to be transferred next."
Claes Oldenburg
#38. There's always been a potential erotic possibility with objects.
Claes Oldenburg
#40. 'Clothespin' was the first city monument on a large scale that could compete with the architecture around it.
Claes Oldenburg
#41. I got a job as a dishwasher in Oakland, and I would draw all day. It was nice because the lady who ran the boardinghouse where I worked let me live there for nothing if I gave her some drawings every week - mostly park drawings of birds and such.
Claes Oldenburg
#42. Everything I do is completely original-I made it up when I was a kid.
Claes Oldenburg
#43. I was very happy to be living in New York at that time, more than in the present time. Now it's all commerce.
Claes Oldenburg
#44. Chicago has a strange metaphysical elegance of death about it.
Claes Oldenburg
#46. I had no idea what art was. There was one art class in high school, but it didn't make a big impression on me. Then I went to college and thought I'd become a writer.
Claes Oldenburg
#47. I don't do abstract art because I don't find it as interesting as I do subjects and depictions.
Claes Oldenburg
#48. I think of a monument as being symbolic and for the people and therefore rhetorical, not honest, not personal.
Claes Oldenburg
#49. Mine was not pop art. I maybe started with a subject, but I changed the subject.
Claes Oldenburg
#50. My struggle has been to return painting to the tangible object, which is like returning the personality to touching and feeling the world around it, to offset the tendency to vagueness and abstraction. To remind people of practical activity, to suggest the sense and not to escape from the senses.
Claes Oldenburg
#51. I knew I had to take my ambition more seriously, so I enrolled at the Art Institute of Chicago. Then, in the fall, I went on a tour of my own. I didn't go to New York because that was too well known for its art scene.
Claes Oldenburg
#52. I got a little studio in Chicago and practiced. I realized I had to earn some money. So I went to work for an advertising agency where my job was mostly drawing insects for a company that sold an insecticide spray.
Claes Oldenburg
#53. If you really want to be an artist, you search yourself, and you find a lot of it comes from earlier times. I have pretty much built the work around my experiences. When I've moved from one place to another, the work has changed.
Claes Oldenburg
#54. I am for the art of underwear and the art of taxicabs. I am for the art of ice cream cones dropped on concrete.
Claes Oldenburg
#55. When you're working with an object, you can put in almost anything you want, you can make it abstract.
Claes Oldenburg
#56. The end of the '60s was a terrible time. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. Then suddenly something happened, the '60s disappeared. The '70s were completely different.
Claes Oldenburg
#57. A life cycle can be imposed on an object. An object can be very energetic and active, and then it has a dying phase and a phase of decomposition.
Claes Oldenburg
#58. Because my work is naturally non-meaningful, the meaning found in it will remain doubtful and inconsistent - which is the way it should be. All that I care about is that, like any startling piece of nature, it should be capable of stimulating meaning.
Claes Oldenburg
#59. Duchamp is known for calling a thing art, rather than making it. A lot of that is picked up in pop art, too.
Claes Oldenburg
#60. I went back to the Art Institute, then spent the summer at the Ox-Bow School in Saugatuck, Michigan. That's what really awakened me. I made a lot of oil paintings and my first performance.
Claes Oldenburg
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