Olivier Dollinger


In the collective imagination lipstick represents romanticism and sensuality, and it should come as no surprise that various artists have used its image in their work to subvert those very notions. Claes Oldenburg’s postcard Lipsticks in Piccadilly Circus, 1966, and his Lipstick (Ascending) on Caterpillar Tracks, 1969, installed at Yale University Art Gallery, or Andy Warhol’s silk screen Marilyn Monroe’s Lips, 1962, come immediately to mind. Of the latter, Kynaston McShine wrote, “Reducing Marilyn to an anatomical fragment, to a kind of repeating osculation machine, it dispels any romantic illusions about the idea of the kiss.”

The description of this “osculation machine” might just as easily be applied to Olivier Dollinger’s new work, Lipstick Wall Drawings, 1999. For several days preceding the opening, Dollinger kissed the walls of the gallery thousands and thousands of times in order

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