Big Sweep Denver

The artists behind the Denver Art Museum’s iconic broom and dustpan sculpture are the focus of a new exhibition at the museum.
Claes Oldenburg and Coosje van Bruggen are known for taking mundane objects and transforming them into imaginative and often enormous sculptures, like the “Big Sweep” piece permanently installed outside.

This new exhibit focuses on the artists’ drawings, including an exclusive presentation of eight sketches of the “Big Sweep.” The museum’s curator of modern and contemporary art, Becky Hart says, “Drawings are the tool that an artist uses to develop their thoughts.”

Claes Oldenburg和Coosje van Bruggen以拍攝世俗物品並將其轉化為富有想像力且通常巨大的雕塑而聞名,如永久安裝在外面的“Big Sweep”作品。

這個新展覽專注於藝術家的繪畫,包括八個“大掃描”草圖的獨家展示。 博物館的現代和當代藝術策展人Becky Hart說:“繪畫是藝術家用來發展思想的工具。”

Stainless steel, aluminum, fiber-reinforced plastic; painted with polyurethane enamel
31 ft. 4 in. x 25 ft. 4 in. x 15 ft. 1 in. (9.6 x 7.7 x 4.6 m)

不銹鋼,鋁,纖維增強塑料; 塗有聚氨酯琺瑯
31英尺4英寸x 25英尺4英寸x 15英尺1英寸(9.6 x 7.7 x 4.6米)

Long before the expansion of the Denver Art Museum had taken shape, we had identified a location for an outdoor sculpture in relation to the iconic existing museum building designed by the Italian architect Gio Ponti. Knowing that the environment would change radically, we nevertheless made notes – for example, determining an axis perpendicular to Mark di Suvero’s sculpture Lao Tzu, and observing the curved roof on a Philip Johnson skyscraper in the downtown area and the view west of the Rocky Mountains’ Front Range.

Riding a free city bus, we glimpsed sanitation workers demonstratively sweeping trash into dustpans as part of a campaign to keep Denver clean. The sight connected with a theme we had been working on, “The Dustbin of History,” which featured brooms and pans in action. As we talked over lunch, the clear blue sky combined with the characteristic browns of the Denver cityscape to elicit the image of a colossal broom and dustpan, which had appeared in a drawing in that color scheme.

We visualized slits placed in the pan to restate the tall, narrow apertures of the Ponti building. The tilt of the pan might represent the slope of the mountain range and the broom the wind at its foothills. We chose to represent the moment of contact, when the bristles strike the pan, adding some debris as well.

The architect Daniel Libeskind had been commissioned to design the museum’s expansion, which included a huge jutting structure of pointed planes that overshadowed our original site. Coosje opted to stay close to the Libeskind building in order to reassert the site-specific nature and preserve the scale of the sculpture.

In its shifting forms the Big Sweep mediates between the Ponti building and the new addition. Its tilting planes offer a counterpoint to the structure hovering over it, while its rounded bristles provide contrast to the angular backdrop.

早在丹佛藝術博物館擴建之前,我們已經確定了一個室外雕塑的位置,與意大利建築師Gio Ponti設計的標誌性現有博物館建築相關。知道環境會發生根本變化,我們做了筆記 – 例如,確定垂直於Mark di Suvero的雕塑老子的軸,並觀察市中心菲利普約翰遜摩天大樓的彎曲屋頂和落基山脈以西的景色’前線。



建築師Daniel Libeskind受委託設計博物館的擴建,其中包括一個巨大的尖頭飛機結構,掩蓋了我們原來的地點。 Coosje選擇靠近Libeskind大樓,以重新確定特定場地的性質並保留雕塑的規模。

在其變化的形式中,Big Sweep在龐蒂建築和新建築之間進行調解。它的傾斜平面與懸浮在其上的結構形成對比,而其圓形刷毛與角形背景形成對比。


FROM:Conserving Big Sweep

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