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“Batcolumn,” Oldenburg told the Tribune, “attempts to be as nondecorative as possible - straightforward, structural and direct. It took its place not far from Chicago’s famed Picasso sculpture, dedicated in 1967. The Chicago “Batcolumn” was funded by the federal government as part of a program to include a budget for artworks whenever a big federal building was put up. “Clothespin” resembles the ordinary household object, but its two halves face each other in the same way as Brancusi’s lovers. It evokes Constantin Brancusi’s 1908 “The Kiss,” a semi-abstract depiction of a nearly identical man and woman embracing eyeball to eyeball. Oldenburg’s 45-foot steel “Clothespin” was installed in 1976 outside Philadelphia’s City Hall. The original version deteriorated and was replaced by a steel, aluminum and fiberglass version in another spot on the Yale campus in 1974. The original - with its undertone suggestion to “make love (lipstick) not war (tanks)” - was commissioned by students and faculty and installed at Yale University in 1969. One of his early large-scale works was “Lipstick (Ascending) on Caterpillar Tracks,” which juxtaposed a large lipstick on tracks resembling those that propel Army tanks. “The telephone is a very sexy shape,” Oldenburg told the Los Angeles Times. Oldenburg’s sculpture was also becoming known during this period, particularly ones in which objects such as a telephone or electric mixer were rendered in soft, pliable vinyl. “But there is a disorganized pattern that acquires definition during a performance.” He said the sessions - unscripted but loosely planned in advance - should be a “cathartic experience for us as well as the audience.” “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.”