歐登柏格的物體藝術風格極其多變，初期繼承杜比菲和塞利納等人的反文化論述，以歐洲菁英的觀點，透過充滿暴力及頹廢氣息的環境藝術，批判污穢、死氣沈沈的都市生活，並對紐約弱勢族群流露出深切但無奈的關懷。不過這種負面情緒並不持久，藉由精神分析之助，他在原本灰暗的街道上發現充滿生命力的美國式生活，於是開始擁抱庸俗的日用品，加入普普藝術的創作行列。另一方面，來自卡布羅總體藝術觀的創作呼籲，歐登伯格廣泛地利用各種複合媒材，將帕洛克的行動繪畫轉化成三度空間的物體，立體的偶發藝術場景轉化成平面的繪畫結構，並使用棉布帆布和聚乙烯創造了史無前例的軟雕塑。物體藝術對他而言，不僅是記錄環境變化的日記，也是進行繪畫與雕塑實驗的素材，更是表達個人想像、哲學觀念、社會批判與宗教思想的工具。本論文嘗試以風格分析法觀察歐登伯格如何在低藝術的偽裝下與藝術傳統接軌，並進行具有創造力的類型學探索。接著依據精神分析學的觀點，討論其欲望的置換與昇華，同時結合古希臘的宇宙論與神話學，揭開他烏托邦式的想像世界。最後，綜合論述歐登伯格在主題、材質、技法與觀念上的深入研究，突顯他在藝術形式上的卓越貢獻。

西文圖書
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Barthes, Roland, Mythologies, New York: Hill and Wang, 1998
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Buskirk, Martha & Nixon, Mignon. (Ed.), The Duchamp Effec,.
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Calas, Elena. & Calas, Nicolas., Icons and Images of the Sixties, New York: E. P. Dutton & Co., 1971.
Celant, Germano.（Ed.）, Il Corso del coltello = The Course of the knife, New York: Rizzoli, 1986.
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Coosje van Bruggen, New York: Northern Center, 1988.
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Celant, Germano., Rosenthal, Mark., & Koepplin, Dieter., Claes Oldenburg: An Anthology. New York: Guggenheim Museum, 1995.
Clark-Langager., Sarah, “Sculptural Tableaux of The Sixties: Edward Kienholz, Claes Oldenburg, and George Segal,” Ph.D. diss., City University of New York, 1988.
Cork, Richard., Bottle of Notes：Claes Oldenburg and Coosje van Bruggen, Middlesborough England: Middlesborough Borough Council, 1997.
Crow, Thomas E., The Rise of the Sixties: American and European Art in the Era of Dissent, Great Britain; George Weidenfeld & Nicolson Ltd.. 1996.
Ferrulli, Helen. & Oldenburg, Claes., Claes Oldenburg; The Alphabet in L.A.. Los Angeles, California: Margo Leavin Gallery, 1975.
Fineberg, Jonathan., Art Since 1940: Strategies of Being, New York: Harry N. Abrams, 1995.
Focillon, Henri., The Life of Forms in Art（George Kubler, Trans.）, New York: Zone Books, 1989.
Ginsberg ,Susan., “Claes Oldenburg: sculpture, 1960-1968.A catalogue raisonné,” Ph.D. diss., City University of New York, 1991.
Glimcher, Anne., Claes Oldenburg, New York: The Pace Gallery, 1992.
Goddard, Donald., American Painting, New York: Beaux Arts Editions, 1990.
Haskell, Barbara., Claes Oldenburg: object into monument, Pasadena, Calif.: Pasadena Art Museum, 1971.
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Performance 1958-1964, New York: Whitney Museum of Art, 1984.
Hunter, Sam.（Ed.）, The Dada/surrealist heritage: an exhibition, Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 1977.
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Attitudes, New York: Harper & Row, 1995.
Kare, Susan D.,“A Study of The Use of Caricature in Selected Sculptures of Honore Daumier and Claes Oldenburg,” Ph.D. diss. New York University, 1978.
Kirby, Michael., Happenings, New York: Dutton Paperback, 1966.
Kostelanetz, Richard., The Theatre of Mixed Means, New York: The Dial Press, 1968.
Margo Leavin Gallery, Claes Oldenburg: Works in Edition, Los Angeles, California Margo Leavin Gallery, 1971.
Mayer, Hansjorg.（Ed.）, Photo Log/ Press log: May 1974 － August 1976 （First ed）, New York: Store Days Inc., 1976.
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╴╴╴╴, Claes Oldenburg, London: Arts Council of Great
Britain, 1970.
╴╴╴╴, Raw Notes, Halifax: The Press of the Nova Scotia
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中文圖書
Allan Kaprow著（民85），《藝術與生活的模糊分際》，徐梓寧 譯，台北市：遠流。
Campbell, Joseph. & Moyers, Bill.（民88），《神話：內在的旅程 \ 英雄的冒險 \愛情的故事》，台北市：立緒文化。
Damus, Martin著（民85），《造型藝術在後資本主義裏的功能》，吳瑪悧譯，台北市：遠流。
Henry Focillion著（民90），《造形的生命》，吳玉成 譯，台北市：田園城市。
Madoff著（民77），《繪畫中的後現代主義》，羅青 譯，台北市：徐氏基金會。
Rotzler, Willy著（民85），《物體藝術》，吳瑪悧 譯，台北市：遠流。
Schilling, Jurgen著（民85），《行動藝術》，吳瑪悧 譯，台北市：遠流。
Tayler, Paul.著（民87），《後普普藝術》，徐洵蔚，鄭湛 譯，台北市：遠流。
王國芳，郭萬本著（民86），《拉岡》，台北市：生智。
佛洛伊德著（民79），《精神分析引論 精神分析新論》，葉頌壽 譯，台北市：志文出版。
佛洛伊德（民89），《夢的解析》，孫明之譯，臺北市，貓頭鷹出版。
呂清夫（民85），《後現代的造型思考》，高雄市：傑出。
俞建章，葉舒憲著（81），《符號：語言與藝術》，台北市：久大文化。
章國清（民85），《後佛洛伊德主義》，台北市：揚智。
劉昌元著（民76），《西方美學導論》，台北市：聯經。
劉思量（民81），《藝術心理學》，台北市：藝術家。
羅蘭˙巴特著（民86），《神話學》，許薔薔，許綺玲 譯，台北市：桂冠圖書。
西文期刊
Adams, Brooks., “Feats of Claes," Harpers’s Bazaar, Vol.125,（1992, September）, pp.336-337.
Anonymous, “Lexington：As Hambergers go, so goes Ameican？,” The Economist,（1997, August 23）, pp.22-23.
Anonymous, “Paleo-Contemrary Art：Pop Went the Easel,” The Economist,（1995, September 30）, pp.102-103.
Bourdon, David., “A Conversation with Claes Oldenburg,” Architectural Digest,（1982, June）, pp.164-172.
Bromberg, Craig., “That Collaborative Itch,” ARTnews,（1988, November） , pp.160-163.
Brown, Christie. “ “Up-yours” art,” New York,（1995, April 10）, pp.109-111.
Coplans, John., “Pop Art, USA,” Artforum,（1963, October）, pp.27-30.
Fahlström, Öyvind., “Object-Making,” Studio International,（1966, December）, pp.328-329
Fried, Michael., “New York Letter,” Art International,（1962, October）, pp.72-76.
Glaser, Bruce., “Oldenburg, Lichtenstein, Warhol：A Discussion,” Artforum,（1966, February）, pp.20-24.
Glazer, Nathan.., “Monuments in an Without Heroes,” Public Interest,（1996, Spring）, pp.22-31.
fgwood, Robert E., “Heretical Alliance: Claes Oldenburg and the Judson Memorial Church in the 1960s,” Art History, Vol.18, （1995, June）, pp.185-212.
Haywood, Robert., “Demon in the Kitchen: Oldenburg’s Alterations” Art in American, （1995, October）, pp86-139.
Hughes, R.., “Wallowing in the Mass media Sea Art,” Time, Vol.138, pp.102-104.
Isken, Suzanne., “Claes Oldenburg,” School Arts,（2000, April）, pp.39-42.
Johnson, Ellen H., “The Living Object,” Art International,（1963, January）, pp.42-45.
Johnston, Jill., “Off Off-Broadway： “Happenings” at Ray Gun MFG. CO.,” The Village Voice,（1962, April 26）, p10.
Judd, Donald., “In The Galleries: Claes Oldenburg. Arts, （1963, September）p64.
Kaslow, Amy., “Claes Oldenburg Plays Jack and the Beanstalk with Giant Sculpture,” Christian Science Monitor,（1995. April 6）, p10.
Kozloff, Max., “American Painting During the Cold War,” Artforum,（1973, May）, pp.43-54.
Kozloff, Max., “Dissimulated Pop,” The Nation,（1964, November 30）, pp.417-419.
Lears, Jackson., “Revolutionary Ware,” The New Republic,（1996, December 2）, pp.50-57.
McCarthy, Michael., “Save Binoculars,” Adweek（Western Edition）,（1998, October 19）, p71.
Nordland, Gerald., “Erom Marcel Duchamp and Common Object Art,” Art Internationa,（1964, February）, pp.30-32.
Perl, Jed., “The Third Degree,” The New Republic,（1995, December）, pp.26-31.
Plagens, Peter.,. “Two Pops,” Artforum,（2000, Summer）, pp.157-160.
Py-Lieberman, Beth & Maranzano, Attilio., “The Really Big Art of Claes Oldenburg,” Smithsinian, Vol.26,（1995, August）, p78.
Rose, Barbara., “Dada ,Then and Now,” Art International,（1963, January）, pp.23-28.
╴╴╴╴, “Claes Oldenburg’s Soft Objects,” Artforum,（1967, June）, pp.30-35.
Rosenberg, Harold,. “The Art World：Marilyn Mondrian,” The New Yorker,（1969, November 8）, pp.167-176.
Selz, Peter., Geldzahler, Henry., Kramer, Hilton., Ashton, Dore., Steinberg, Leo., & Kunitz, Stanley., “A Symposium on Pop Art,” Arts,（1963, April）, pp.35-45.
Springer, Julie., “Claes Oldenburg：Making the Ordinary Extraordinary,” Schoolarts, （1999, January）, pp.31-34.
Strickland, Carol., “Roy Lichtenstein：Keep Observer of Life’s Ironies,” Christian Science Monitor,（1997, October 3）, p11.
Swenson, G. R.., “The New American “Sign Painters””. Art News ,（1962, September）, pp.44-47.
Tillim, Sidney., “Further Observation on The Pop Phenomenon,” Artforum,（1965, November）, pp.17-19.
Weinstein, Jeff., “Old Softies：Claes Oldenburg in Retrospect,” Artforum,（1996, January）, pp.54-59.
Woodward, Richard B., “Pop and Circumstance,” ARTnews,（1990, February）, pp.119-123.
中文期刊
吳毓奇（民84），〈歐登伯格（Claes Oldenburg）與軟體雕塑〉，《藝術家》，40:5=240，（台北市，藝術家出版社），頁344-351。
杜維明（民88），〈苦參‧傳心與弘法：禪宗在北美發皇的內因〉，《當代》，第26期，（台北市，當代雜誌），頁48-51。
釋恆清（民82），〈禪學與杜威：教育思想和方法之比較〉，《哲學評論》，第16期，（台北市，國立台灣大學哲學系），頁77-96。
報紙
〈來台34年 哈洛德當起洋和尚〉（92.11.19），《聯合報》，B5版。
〈周文中 想罵約翰凱吉是混蛋〉（92.11.21），《聯合報》，B6版。
錄影帶
Johathan Cooke（ed.）, Claes Oldenburg, Chicago: Home Vision Art, 1996.
光碟資料庫
Encyclopedia Britannica 2003 Deluxe Edition, U.K.:
Encyclopedia Britannica, Inc. 2003
Microsoft Encarta Encyclopedia Deluxe 2002, U.S.A.: Microsoft Corporation, 2002
網路資源
Pollock-Crasner House and Study Center , Helen Harrison, Jackson Pollock. October 2003, April 2, 2004, <http://naples.cc.sunysb.edu/CAS/pkhouse.nsf/pages/pollock>
National Gallery of Canada Library and Archives, Fran&ccedil;ois-Marc Gagnon, “Paul-&Eacute;mile Borduas Nature's Parachutes towards a Definition of Borduas' Pictorial “Surrealism” ”, Annual Bulletin, No.4, 1980-1981, December 10, 2003, <http://collections.ic.gc.ca/bulletin/num4a/gagnon1.html>
Salon Com, Douglas Cruickshank, “Size Matters,” published date unknown, October 23 2003, <http://www.salon.com/bc/1998/12/22bc.html>
Lauren Hall, “Does America Have Buddha-Nature? The Adoption of Eastern Thought in the Works of Jack Kerouac and Allen Ginsberg”, <http://www.cwru.edu/artsci/engl/marling/60s/readisngs/hall1.html>