“There is no story and the events are seemingly meaningless,” Oldenburg told the Times. One Oldenburg concoction, cited in the 1965 book “Happenings” by Michael Kirby, juxtaposed a man in flippers soundlessly reciting Shakespeare, a trombonist playing “My Country ’Tis of Thee,” a young woman laden with tools climbing a ladder, a man shoveling sand from a cot and other oddities, all in one six-minute segment. Oldenburg’s first blaze of publicity came in the early '60s, when a type of performance art called the Happening began to crop up in the artier precincts of Manhattan.Ī 1962 New York Times article described it as “a far-out entertainment more sophisticated than the twist, more psychological than a séance and twice as exasperating as a game of charades.”
Oldenburg’s first wife, Pat, also an artist, helped him out during their marriage in the 1960s, doing the sewing on his soft sculptures.
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The previous year, she had helped him install his 41-foot “Trowel I” on the grounds of the Kroller-Muller Museum in Otterlo, the Netherlands. Many of Oldenburg’s later works were produced in collaboration with his second wife, Coosje van Bruggen, a Dutch-born art historian, artist and critic whom he married in 1977. The placement of those sculptures showed how his monument-sized items - though still provoking much controversy - took their place in front of public and corporate buildings as the establishment ironically championed the once-outsider art. “That’s the adventure of it: to take an object that’s highly impure and see it as pure. “It’s always a matter of interpretation, but I tend to look at all my works as being completely pure,” Oldenburg told the Chicago Tribune in 1977, shortly before “Batcolumn” was dedicated.
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