Word: wesselmann
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Dates: during 1970-1979
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...shall say he was not right? By 1965 pop had become the most popular movement in American art history, drenched in ballyhoo, gratefully supported by legions of collectors whose appetites bore the same relation to connoisseurship that TV dinners do to poulet en demi-deuil. Warhol, Lichtenstein, Indiana, Rosenquist, Wesselmann, Oldenburg, Johns and Rauschenberg became instant household names, not counting their swarm of epigones. "What we have with the pop artists," wrote the English critic Lawrence Alloway, "is a situation in which success has been combined with misunderstanding." He had coined the term pop art, in England...
...become a sort of madeleine. Irrevocably, the cachet of pop has gone, and many of its artifacts now look tenuous. It cannot be long before some enterprising museum (the Metropolitan?) opens a '60s Period Room, to go with its transplanted Louis Quinze paneling and reassembled colonial parlor: a Wesselmann and a Warhol Marilyn on the stainless-steel walls, a coffee table strewn with multiples and macadarnia nuts, a Panther poster above the vinyl settee, and under the supergraphic in the corner a waxwork group of Henry Geldzahler hustling that week's trend to a slim, wrinkled matron...
...Artist Tom Wesselmann's Great American Nudes have long been a fixture of the gallery and museum scene. These chromatic cuties-or selected parts of their anatomy-are usually molded in plastic or painted in hot, bright oils and acrylics, but the current show at New York's Sidney Janis Gallery features the breast of a real live girl. The work, a three-dimensional still life, is contained in a box firmly set into a tightly closed door. Every Saturday between 2 and 4:30 p.m. the breast projects from a hole in the top amongst the painted...
From the worn-out loafers to the signatures of his friends, the show offers an unusually personal view of an artist. Dine never really belonged to Pop art, though he has often been identified with it. He rode the same swift wave to success as Oldenburg, Warhol, Lichtenstein and Wesselmann, shared their conviction that the vocabulary of abstract expressionism was all but exhausted, and gave the object a primary place in his painting. But where Pop's lifeblood was popular imagery, Dine used objects that had figured in his own experience. Where Pop was social, analytical, sometimes bitterly satirical...