Guest Blogger: Emily
A first look at Claes Oldenburg and Coosje van Bruggen’s Typewriter Eraser, Scale X, may leave viewers mildly confused. Not just an abstract sculpture of a circle with dynamic offshoots, it instead represents a typewriter eraser of monumental size. Why a typewriter eraser? The object has, after all, been out of use for nearly 40 years. Yet that’s just the point Oldenburg and Bruggen try to make. Obsolete objects- like the typewriter eraser- hold much more meaning than simply their tangible form and function. As Americans, we hold objects in almost a reverential position, spurred by the driving materialistic forces that haven’t abated since World War II. More than simply buying to acquire, we base our status, confidence, reputation, and self-worth on the objects we own. Oldenburg and van Bruggen sought to play on this attitude in Typewriter Eraser, Scale X.
Our materialism has driven faster progress than ever before. Though there were significant gaps in time between major innovations of the 1900s- radios, household appliances, TVs, and computers- we’ve had eight new versions of the iPhone within the past few years alone. So it’s no wonder why people forget about objects of the decade before, much less objects of half-a-century before, like the poor, unused typewriter eraser.
But what happens when we take a moment out of our busy, keeping-up-with-the-Joneses’ lifestyle to think and reflect on items of the past? This may sound like an odd idea- perhaps one that even encourages materialism- yet it plays right into the message that Oldenburg and Bruggen make in Typewriter Eraser, Scale X. It is an undeniable fact that objects play a major role in our lives, so it naturally follows that we should have significant memories attached to them. Such is the case with Oldenburg. This typewriter eraser is a remnant of Oldenburg’s childhood; Oldenburg was inspired to sculpt the work because of his fond memories of playing in his father’s office as a child in the 1930s. The typewriter eraser falls gracefully to the ground, the tips of its strands curving towards the sky, trying to slow it down. Oldenburg’s noble rendering of this object allows the viewer to feel the same love for the typewriter eraser that Oldenburg himself once felt. Such remembrances ensure that although old objects may not always be remembered, they will never be forgotten.