New York
Coosje van Bruggen worked in  which location from 1978 to 1979?
Coosje van Bruggen Coosje van Bruggen ( June 6 , 1942 – January 10 , 2009 ) was a Dutch-born American sculptor , art historian , and critic . She collaborated extensively with her husband , Claes Oldenburg . Biography . Born to a physician in Groningen , van Bruggen studied history of art at the University of Groningen . From 1967 to 1971 , she worked at the Stedelijk Museum in Amsterdam . Van Bruggen married her first husband Paul Kapteyn , they had two children , Maartje Kapteyn and Paulus Kapteyn . In Amsterdam she worked with environmental artists like Doug Wheeler , Larry Bell , and the members of the Dutch avant-garde . Until 1976 , van Bruggen taught at the Academy for Art and Industries in Enschede . In 1977 , van Bruggen married her second husband Claes Oldenburg . In 1978 , van Bruggen moved to New York . In 1993 she became a United States citizen . Work . She began working with her husband , sculptor Claes Oldenburg , in 1976 . Her first work with Oldenburg came when she helped him install his 41-foot Trowel I on the grounds of the Kröller-Müller Museum in Otterlo . They were married in 1977 . Together Oldenburg and van Bruggen produced three decades of monumental sculpture that van Bruggen would call Large-Scale Projects , with their first piece created as a team being Flashlight ( 1981 ) , a huge outdoor sculpture at the University of Nevada , Las Vegas . In Los Angeles , Collar and Bow - a 65-foot metal and fiberglass sculpture in the shape of a mans dress shirt collar and bow tie , designed for a spot outside Walt Disney Concert Hall - was stalled and eventually canceled because of technical problems and escalating costs . In 1988 , her work along with Oldenburg Spoonbridge and Cherry was commissioned by the Walker Art Center , and became a permanent fixture of the Minneapolis Sculpture Garden as well as an iconic image of the city of Minneapolis . Their final joint work , fabricated in Turin , Italy , was Tumbling Tacks ( 2009 ) , designed for the Kistefos Sculpture Park in the countryside north of Oslo . At her instigation , too , the couple branched out into indoor installations and performance . In 1985 they collaborated on Il Corso del Coltello ( “The Course of the Knife” ) a performance piece in Venice , Italy , with the architect Frank Gehry , whom van Bruggen had met in 1982 , when she was on the selection committee for documenta 7 in Kassel . Since the early 1980s van Bruggen worked as an independent critic and curator . She contributed articles to Artforum magazine from 1983 to 1988 , and served as senior critic in the sculpture department at Yale University School of Art in 1996–97 . Van Bruggen was the author of scholarly books and essays on the work of major contemporary artists including Gerhard Richter ( 1985 ) , John Baldessari ( 1990 ) , Bruce Nauman ( 1991 ) , and Hanne Darboven ( 1991 ) . She also wrote a monograph on architect Frank O . Gehrys Guggenheim Museum in Bilbao , Spain . Van Bruggen and Oldenburg were based in New York for many years , but they also lived and worked for extensive periods in Los Angeles and , since 1992 , at Château de la Borde in Beaumont-sur-Dême , in the Loire Valley of France . One U.S . installation the pair collaborated on is the fiberglass and steel Cupids Span , which was commissioned by GAP founders Donald and Doris F . Fisher , and installed in the newly built Rincon Park along the Embarcadero in San Francisco in 2002 . In 2021 , Pace Gallery presented an exhibition of van Bruggens collaborative practice with Claes Oldenburg spanning the 1980s to the late 2000s . Awards . Together with Oldenburg , Van Bruggen received numerous awards including the Distinction in Sculpture , Sculpture Center , New York ( 1994 ) ; Nathaniel S . Saltonstall Award , Institute of Contemporary Art , Boston ( 1996 ) ; Partners in Education Award , Solomon R . Guggenheim Museum , New York ( 2002 ) ; the Medal Award , School of the Museum of Fine Arts , Boston ( 2004 ) and honorary degrees from the California College of the Arts , San Francisco , California ( 1996 ) ; University of Teesside , Middlesbrough , England ( 1999 ) ; Nova Scotia College of Art and Design , Halifax , Nova Scotia ( 2005 ) ; and the College for Creative Studies in Detroit , Michigan ( 2005 ) . The Estate of Coosje van Bruggen is represented by The Pace Gallery , New York . Death . After a long battle with breast cancer , she died at her residence in Los Angeles in 2009 , aged 66 . Sculptures . - Pool Balls ( 1977 ) , Münster - Spitzhacke ( 1982 ) , Kassel - Gartenschlauch ( 1983 ) , Freiburg im Breisgau - Screwarch ( 1983 ) , Rotterdam - Cross section of a Toothbrush with Paste , in a Cup , on a Sink : Portrait of Coosjes Thinking ( 1983 ) , Krefeld - Balancing Tools ( 1984 ) , Weil am Rhein - Knife Ship I ( 1985 ) , Bilbao - Spoonbridge and Cherry ( 1988 ) , Minneapolis - Bicyclette Ensevelie ( 1990 ) Parc de la Villette , Paris - Free Stamp ( 1991 ) Willard Park , Cleveland - Mistos ( 1992 ) , Barcelona - Bottle of Notes ( 1993 ) , Middlesbrough - Inverted Collar and Tie ( 1994 ) , Frankfurt - Houseball ( 1996 ) , Berlin - Torn Notebook ( 1996 ) , Lincoln , Nebraska - Lions Tail ( 1999 ) , Venice - Ago , Filo e Nodo ( 2000 ) , Milan - Flying Pins ( 2000 ) , Eindhoven - Dropped Cone ( 2001 ) , Cologne - Cupids Span ( 2002 ) , San Francisco - Spiral ( 2006 ) , Seoul - Clothespin ( 1976 ) , Philadelphia - Split Button ( 1981 ) , Philadelphia