Sweden born 1929
- Movements: United States of America from 1930
Miniature soft drum set
- a multiple consisting of a canvas bass drum, big and small tom drums, a pair of cymbals, a hi sock, a foot pedal, a bell and woodblock and a set of drumsticks, all sitting on a wooden bandstand base
Print, Multiple, canvas, stencil, spraypainting
Technique: screenprinted and spraypainted canvas, rope, wood, plastic button and metal screws on a screenprinted paper on wood base, in a two-colour screenprinted wooden box
Support: canvas, wood
Edition: no.23 from an edition of 200 plus 18 artist's proofs (catalogue raisonne, in consultation with Marian Goodman, suggests 26 artist's proofs)
Publisher: Multiples Inc., New York
Place Published: New York
Date Published: 1969
Edition Notes: screenprinting by Sheila Marbain at Maurel Studios, New York; sewing, assembly and rope parts by Abachrome Flag and Banner Company, New York; fabrication of wood parts by Red Palardy at Chelsea Model and Cabinet Shop, New York; box designed by the artist and Marcus Ratliff
Primary Insc: signed on largest drum (bass), black marker pen "CO"
Secondary Insc: numbered on largest drum (bass), black marker pen "23/200"
Tertiary Insc: rubber stamp on base, verso "CLAES OLDENBURG / MINIATURE SOFT DRUM SET / Copyright © 1969 Claes Oldenburg and Multiples, Inc."; printed inscriptions, on base "base / 14" / 19" / 2" ", on bass drum "Bass x 7" deep 23" circ 10 ½" / 7 7/8" bass in 33 ¼"; on small tom drum ""Small Tom 2 ¼ rad. / 4 ½ 14 circ approx / 3 5/8 in Tom A", on large tom drum "Tom x 6" 19" circ / Tom 6" 19" circ. / 6 ¾" Big Tom B", on hi sock drum "hi sock 7" / down (outside) hi sock 7" ", on right-hand cymbal "Cymbal 10" / bottom cymbal", on left-hand cymbal "top cymbal / cymbal 10" bottom"
variable 31.0 h x 51.0 w x 35.8 d cm
Cat Raisonné: Axsom and Platzker, Printed stuff, 1997, cat. 61
Accession No: NGA 80.746.A-N
© Claes Oldenburg and Coosje Van Bruggen
- Multiplication: The multiple object in art
- Monash University Gallery
In Miniature soft drum set the essential property of a drum set―its ability to beat out a noise―has been removed. We are left instead with an unstructured mass of canvas. With its rigidity gone, the drum set seems organic and vulnerable. The yielding quality of the sculpture’s material ensures it is never entirely static: subject to the forces of time and change, it eschews strict form and takes on a less familiar identity.
In his work, Claes Oldenburg, a seminal figure in the Pop Art movement and a leading proponent of soft sculpture, wanted ‘to create an independent object which has its existence in a world outside both the real world as we know it and the world of art. It’s an independent thing which has its own power, just to sit there and remain something of a mystery.’
In 1967 Oldenburg decided to make a large, soft drum set inspired by the cylindrical architecture of the Guggenheim Museum. Two years later, the small canvas model that he created as a prototype for Giant soft drum set became the basis for the editioned Miniature soft drum set. Presented in a wooden box inside a soft, opaque vinyl bag, and accompanied by a set of six suggested positions for display, the work is a typical example of Oldenburg’s experiments with collapsed form.
National Gallery of Australia, Canberra
The artist, in 1971, quoted in Claes Oldenburg, Claes Oldenburg: an anthology, Guggenheim & National Gallery of Art, New York and Washington, 1995, p 12
 Giant soft drum set was created for the1967 International Exhibition of Sculpture, held at the Guggenheim Museum in New York
Text © National Gallery of Australia, Canberra 2010
From: National Gallery of Australia exhibition SoftSculpture (reference )