Lipstick (Ascending) on Caterpillar Tracks
Title: Lipstick (Ascending) on Caterpillar tracks
Authors: Claes Oldenburg
Location: New Haven, U.S.A.
Year complete: 1969
Description: Cor-Ten steel, steel, aluminum, cast resin; painted with polyurethane enamel; 23 ft. 6 in. x 24 ft. 11 in. x 10 ft. 11 in. (7.2 x 7.6 x 3.3 m)
標題：卡特彼勒軌道上的唇膏（升序）
作者：Claes Oldenburg
地點：美國紐黑文
完成年份：1969年
描述：Cor-Ten鋼，鋼，鋁，鑄造樹脂; 塗有聚氨酯琺瑯質; 23英尺6英寸x 24英尺11英寸x 10英尺11英寸（7.2 x 7.6 x 3.3米）
This artwork is Claes Oldenburg’s first large-scale public art installation.
In 1969, a group of Yale faculty, students and alumni worked with Claes Oldenburg to design something that the Yale University could not politely refuse but unorthodox. After creating the Lipstick (Ascending) on Caterpillar tracks, they “gifted” for the campus. The school never thanked Oldenburg formally for the endowment.
這件藝術品是Claes Oldenburg的第一個大型公共藝術裝置。
1969年，一群耶魯大學的教師，學生和校友與克萊斯·奧爾登堡（Claes Oldenburg）合作設計耶魯大學不能禮貌地拒絕但非正統的東西。 在卡特彼勒賽道上創造了唇膏（升序）後，他們為校園“天賦”。 學校從未正式感謝奧爾登堡的捐贈。
Oldenburg made the sculpture in collaboration with architecture students at Yale University to protest the Vietnam War in 1969 in Beinecke Plaza (Hewitt Quadrangle), Yale University. They never intended for the original Lipstick (Ascending) on Caterpillar Tracks to be permanent. The original was made with plywood with red vinyl which allowed the lipstick to be inflated and deflated.
Yale University neglected the sculpture despite the fact that it was a “gift”, Oldenburg removed the original Lipstick (Ascending) on Caterpillar tracks, and remade the sculpture out of metal, then placed it at the less prominent spot in the campus.
奧爾登堡與耶魯大學的建築系學生合作，於1969年在耶魯大學貝內克廣場（Hewitt Quadrangle）抗議越南戰爭。 他們從未打算將Caterpillar Tracks上的原始唇膏（Ascending）作為永久性的。 原件是用紅色乙烯基膠合板製成的，這使得唇膏可以充氣和放氣。
耶魯大學忽略了雕塑，儘管它是一件“禮物”，奧登堡在卡特彼勒的軌道上移除了原始的唇膏（升序），並用金屬重新塑造了雕塑，然後將它放置在校園中不那麼顯眼的位置。
Oldenburg combined the highly feminine product with the masculine machinery of war. By doing so, he criticized both Vietnam war and consumerism of the United States. It was the monument with a provocative aesthetic and political statement.
The voice of the sculpture is less within the activist framework due to the relocation, however, it is still impossible to ignore and humorous at the same time.
奧爾登堡將高度女性化的產品與男性化的戰爭機器相結合。 通過這樣做，他批評了越南戰爭和美國的消費主義。 這是具有挑釁性美學和政治聲明的紀念碑。
由於搬遷，雕塑的聲音不在激進主義框架內，但同時仍然不可能忽視和幽默。
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快來加入我們的會員，一同探索建築設計之美。
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