To browse Academia. In four chronologically organized chapters, this study traces the conceptual dependence and deep connectivity among Claes Oldenburg's poetry, sculpture, films, and performance art between and This research-intensive book argues that Oldenburg's art relies on machine vision and other metaphors to visualize the structure and image content of human thought as an artistic problem.
Anchored in new oral history interviews and extensive archival material, it brings together understudied visual and concrete poetry, experimental films, fifteen group performances commonly referred to as happenings , and a close analysis of his well-known installations of The Street and The Store , effectively setting in place a reexamination of Oldenburg's pop art from the street, store, home, and cinema years.
The book will be of interest to scholars working in art history, film studies, performance studies, literature, intermedia studies, and media theory. In Moveyhouse , Claes Oldenburg instructed the audience to stand in the aisles of a cinema.
While the projector ran empty, performers in the seats enacted typical film-going behaviors, such as laughing, smoking, or eating popcorn. We live in a society not only dominated by the screen but increasingly colonized by multiple moving-image 'screens'. This article investigates aspects of the phenomenon of viewing multi-channel animated work that coexists with architecture.
Referencing historic projections, such as Glimpses of the USA by Charles and Ray Eames as well as my own animated installations, I raise questions on how the brain may be processing multiple images and explore the concept of light in a window from the perspective of Gaston Bachelard and Thomas Kincaid in order to suggest differences between projecting on or projecting from-a difference between emanation and reflection. The article closes with brief thoughts on the window-illusion and collapse of 3D space, the image and the archetype and the idea of spectacle with content.
