Word: wesselmann
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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...
...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...
...Reinhardt. Its images, in fact, depend in part on instant recognition. Many of its subjects are the eternal themes of art-scrubbed, rubbed, varnished, stuffed and updated. Susannah and the Elders, an exercise in biblical voyeurism that has been painted by Tintoretto, Rubens and Rembrandt, becomes in Tom Wesselmann's rendition a pink plastic Great American Nude in her bathtub, with gallerygoers playing unreluctant elders. Those meticulous Dutch still lifes of fruits and game are reflected in Pop's soup cans, candy canes, slabs of gooey cake, giant Coke bottles...
...find it safe to come back. For she practices a kind of art that has made her one of the less popular artists in Manhattan. Sturtevant's thing is line-for-line copies of virtually every top pop painter and sculptor. She has "done" Segal, Wesselmann, Oldenburg, Stella, Johns, Lichtenstein, Rosenquist and Warhol with such loving cunning and accomplished accuracy that she makes them all look slightly ridiculous. If the ideal of pop is to reproduce banality literally, then Sturtevant has carried the ideal to its logical but infuriating conclusion-by reproducing the literal reproduction literally. "Oldenburg is ready...