Claes Oldenburg

[Selections from I Am for an Art) 1961

I am for the art that grows in a pot that comes down out of the skies at night, like lightning, that hides in the clouds and growls.
I am for art that is flipped on and off with a switch.

I am for the art that comes up in fogs from sewer-holes in winter. I am for the art that splits when you step on a frozen puddle. I am for the worm’s art inside the apple. I am for the art of sweat that develops between crossed legs.

I am for the art of bar-babble, tooth-picking, beer-drinking, egg-salting, in-sulting. I am for the art of falling off a barstool.

I am for the art of fat truck-tires and black eyes.

I am for the white art of refrigerators and their muscular openings and closings.

I am for the art of rust and mold. I am for the art of hearts, funeral hearts or sweetheart hearts, full of nougat. I am for the art of worn meat hooks and singing barrels of red, white, blue and yellow meat.

I am for the art of things lost or thrown away, coming home from school. I am for the art of cock-and-ball trees and flying cows and the noise of rectangles and squares.

I am for the art of teddy-bears and guns and decapitated rabbits, exploded umbrellas, raped beds, chairs with their brown bones broken, burning trees, firecracker ends, chicken bones, pigeon bones and boxes with men sleeping in them.

I am for the art of slightly rotten funeral flowers, hung bloody rabbits and wrinkly yellow chickens, bass drums & tambourines, and plastic phonographs.

I am for the art of abandoned boxes, tied like pharaohs. I am for an art of water tanks and speeding clouds and flapping shades...

...satan's graffiti?

Course description of the Foundry: Hybrid Objects class I am taking in the spring:

Contemporary culture reflects a confluence of identities, histories, and disciplines as global integration motivates the synthesis of ideas and experience. Hybrid images and objects can be an effective strategy for exploring and expressing complexity. Students explore historical and contemporary examples of this strategy - from hybrid characters in early mythologies and the disjunctive juxtapositions of surrealism to the pluralism of postmodern expression. The convergence of racial, gender, and social identities, the manipulation of life forms via bio-engineering, and the assimilation of body and machines (cyborgs, prosthetics) are topics students may choose to explore. The casting process readily lends itself to the creation of composite imagery and materials. Students can combine and manipulate modeled and `found' forms utilizing a range of molding and casting techniques. Computer scanning, data manipulation and rapid-prototyping technologies are introduced in conjunction with basic metal casting skills. Students are encouraged to pursue individual or collaborative research projects. [[So Excited!!!]]