Claes Oldenburg

Produced over several years between 1962 and 1967, Grimaces shows the faces of over a hundred artists, gallery owners and critics grimacing to the camera.

Shot during Warhol's cross-county trip to Los Angeles during his second exhibition at the Ferus - the same trip during which he filmed the footage for Elvis at Ferus. Locations included Hollywood, Malibu, Venice, Pasadena, Topanga Canyon, the Santa Monica pier and the Beverly Hills Hotel.

Two screens of film about - and sometimes shot by - Claes Oldenburg, detailing his inspiration, his methods and his relationship with his partner Hannah Wilke.

Hannah Wilke, upon Tschinkel's suggestion, cuts fellow artist, Claes Oldenburg's hair, which is taped for Tschinkel's Manhattan Cable TV show, Inner-Tube Video. This memorable piece reflects a caring relationship.

An experimental film from Al Kouzel which edits unrelated scenes together with a camera tying them together.

Breer was influenced by the new performance art and "happenings" making waves in the avant-garde of Europe and New York. He worked briefly with Claes Oldenburg and his performance pieces resulting in a 13 minute film, Pat's Birthday (1962). - AWN

This film documents the major directions in modern American art during the first seven years of the 1960s. The keynote is that the artist has expanded his realm from the two-dimentional picture frame, climaxed by the artists of the 40s and early 50s, merged color with sculpture, and sought out modern media to express himself. This has produced the characteristic wide spectrum of interest, ideas, and products in contemporary art.

Gathering inspiration from the world around him, Claes Oldenburg has dedicated his career to giving objects life. What many would see only as their mundane, everyday tools Oldenburg sees as an opportunity for art. His famed large scale sculptures stand with such stature and force that the viewer has no choice but to become involved with the piece.

In this art performance turned into a film, a woman gives birth to the American flag. When this became a film, Oldenburg completely reformulated the contents of the original action and transferred the locale from an indoor swimming pool to the open countryside. The main similarity between the two versions is that water remains a dominant motif in both. With its stress on nature, the film is a far more lyrical piece than the original happening.