Claes Oldenburg's commitment to familiar objects has shaped accounts of
his career, but his associations with Pop art and postwar consumerism
have overshadowed another crucial aspect of his work. In this revealing
reassessment, Katherine Smith traces Oldenburg's profound responses to
shifting urban conditions, framing his enduring relationship with the
city as a critical perspective and conceiving his art as urban theory.
Smith argues that Oldenburg adapted lessons of context, gleaned from New
York's changing cityscape in the late 1950s, to large-scale objects and
architectural plans. By examining disparate projects from New York to
Los Angeles, she situates Oldenburg's innovations in local geographies
and national debates. In doing so, Smith illuminates patterns of
urbanization through the important contributions of one of the leading
artists in the United States.