Last Monday, we talked about the history of Claes Oldenburg’s iconic Floor Cake sculpture, which is currently in MoMA’s Conservation Department for study and treatment. In this post we’ll discuss how the sculpture was made and how Floor Cake’s condition has resulted from natural aging combined with a heavy exhibition schedule.
For his seminal 1962 triptych Floor Cake, Floor Burger, and Floor Cone, Oldenburg enlisted the help of his first wife, Patti Mucha, who used a portable Singer sewing machine and heavyweight canvas to sew the covers of these large objects. Oldenburg then coated the objects’ surfaces with paint. These works might be described as sewn object-paintings. Floor Cake, for example, consists of five layers of sewn-and-painted canvas, with two chocolate-colored layers alternating with three thinner beige layers, topped by yellow-ocher drops of decorative “icing.”