#wesselmann

Tom Wesselmann, Great American Nude 2, 1961

Have you been to Wesselman Woods in Evansville? Beautiful spot! @wesselmanwoods @visitevansville @travelandleisure @hikingculture @nature_org #enjoytheoutdoors #wesselmann #evansvilleindiana #naturewalks #breathe #simplenaturefinds #peacefulplaces (at Wesselman Woods) https://www.instagram.com/p/B2GGj7SlTAI/?igshid=1kdogw33z5efe

By Tom Wesselmann, Nude with Picasso, 2000

Wesselmann: 1963–1983, an exhibition of seven monumental paintings, is currently on view at Gagosian Beverly Hills. Stop by today! Still Life #61 (1976) is a six-part work measuring over thirty feet in width, it shows Wesselmann’s own toothbrush, cocktail ring, and house key. With a canny and irreverent eroticism, the objects suggest the passage of time: an arrival, an activity in progress, a night spent together: http://fal.cn/VV_x __________ Tom Wesselmann: Wesselmann: 1963–1983, installation view at Gagosian Beverly Hills. Artworks © The Estate of Tom Wesselmann/Licensed by VAGA, New York. Photo: Jeff McLane

Nude with rose, Tom Wesselmann 

Join us tonight, July 12, 6–8pm, for the opening of Wesselmann: 1963–1983 at Gagosian Beverly Hills.  Tom Wesselmann’s Standing Still Life works, along with the contemporaneous Bedroom Paintings, are charged with narrative implications. He used still-life motifs to approach portraiture anew, suggesting human presence through arrangements of inanimate objects: the still life in place of the portrait, or nude: http://fal.cn/yvh9  ___________  Image: Tom Wesselmann, Still Life with Blue Jar and Smoking Cigarette, 1981, oil on shaped canvas, in 4 parts, overall: 9 feet × 18 feet 5 inches × 5 feet 6 inches (274.3 × 561.3 × 167.6 cm) © Estate of Tom Wesselmann/Licensed by VAGA, New York, NY. Photo: Rob McKeever

Wesselmann 1963 to 1983: Stop by Gagosian Beverly Hills to see an exhibition of seven monumental paintings made by Tom Wesselmann over a span of two decades. Wesselmann: 1963–1983, ends tomorrow, August 24.

I used what was around me, so my culture was what I used. But I didn’t use it for cultural reasons—it was not a cultural comment. —Slim Stealingworth (a pseudonym of Tom Wesselmann) Gagosian is pleased to present Wesselmann: 1963–1983, an exhibition of seven monumental paintings made by Tom Wesselmann over a span of two decades. This is the first time this group of works has been shown on the West Coast. During the 1950s, when Wesselmann was a student at Cooper Union in New York, his drawings often took the form of hybrid collages that incorporated sketches and scraps of wallpaper and advertisements that he found in the New York City subway. As experimentation evolved into technique, his early assemblage paintings, which included functional objects and gadgets, gave way to shaped canvas paintings in which objects are arranged in space as tableaux. Diverging from the Abstract Expressionist principles that reigned in 1950s New York, Wesselmann played an integral role in defining New York Pop art, while retaining art historical precedents, including a notable inheritance from Henri Matisse. For more information about the exhibition go to www.gagosian.com.