Tag Archive | Tom Wesselmann

Modern Art Monday Presents: Tom Wesselmann, Still Life Number 36

Still Life Number 36
Photo By Gail

The enormous sandwich and pack of cigarettes in Still Life Number 36 (1964) reflect Tom Wesselmann’s nonhierarchical approach to subject matter and technique. He believed that anything could be art, including the ordinary consumer items that fill our pockets and kitchen cabinets. In 1962, Wesselmann began a series of large-scale still lifes that incorporated fragments of discarded commercial billboards, which he initially scavenged from trash cans but later procured in new, pristine condition directly from advertising agencies. The larger-than-life proportions of the objects in Still Life Number 36 at first seem to celebrate the surfeit of commercial goods in America’s postwar consumer culture. Yet the layers of collage and painted areas bring together incongruent depictions of reality, creating tensions in the composition that Wesselmann described as “reverberation.

Photographed in the Whitney Museum in NYC

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Tom Wesselmann Retrospective at Mitchell-Innes & Nash

Volkswagon
All Photos By Gail

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.

Leg

Nude Smile

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.

Nude Reclining

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.

Installation View

Mayo and Tomato

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.

Radio and Apple

Collage

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.

Signage

Mouth and Smoke