Like most still life’s, Tom Wesselmann’s Still Life #57 (1969–70) presents a number of ordinary objects — including an orange, a bouquet of flowers, a light switch, a radio, and a checked tablecloth. The artist spent three years developing this monumental work. The “main difficult . . . and the one that took so long to resolve as cropping or not cropping the radio,“ he said. “I wanted to crop it to keep it more in a painting reference rather than something like a stage set.”
Photographed in the Museum of Modern Art in Manhattan.
Mitchell-Innes & Nash is currently hosting the first major painting retrospective of Tom Wesselmann in New York since the artist’s death in 2004. Organized in partnership with the Tom Wesselmann Estate, the exhibition examines Wesselmann’s role as the great innovator of the American Pop generation and includes a dozen significant works spanning the artist’s career from 1961-2004. Gallery owner Lucy Mitchell-Innes explains that with this exhibition, they hope to show how Wesselmann has filtered the canonical subjects of art — still life, the nude and the landscape — through a unique and personal lens using the media and technical innovation of the sixties, seventies and eighties, offering new possibilities for painting.
Tom Wesselmann is one of the leading figures of Pop Art who used collage, assemblage and shaped canvases to usher in a new vocabulary of painting. He is best known for his career-spanning series, Great American Nude, which featured female figures in intensely saturated interiors.
The works in the exhibition highlight a number of techniques that Wesselmann pioneered, and which are largely unseen among his Pop contemporaries. In an interior still life from 1964, Wesselmann incorporates a functional fan and a clock into the canvas, (see image below) pushing the boundaries of collage and assemblage in a sly nod to the notion of the ‘represented’ object.
Collages from the 1960s feature cut-outs from advertising billboards. Also included in the show are Wesselmann’s steel-cut works (a technique he helped develop), molded plastic paintings (a technique borrowed from commercial signage and used here in the context of fine art for the first time), and his iconic shaped canvases.
Being a fantastic introduction to Tom Wesselmann (should you not already be familiar with his work) this is a very cool and worthwhile exhibit to add to your next art crawl during the month of May.
The Tom Wesselmann Retrospective will be on view through May 28, 2016 at Mitchell-Innes & Nash, Located at 534 West 26th Street, in the Chelsea Gallery District.