Tom Wesselmann - A Different Kind of Woman
A Different Kind of Woman
Foreword by Almine Rech, texts by Brenda Schmahmann and Anne Pasternak
28,5 x 24,5 cm - 11 1/4 x 9 5/8 inches
English / French
Edition of 1000
Almine Rech Gallery Editions
Published by Almine Rech Editions in conjunction with Tom Wesselmann’s exhibition 'A Different Kind of Woman', held at Almine Rech Paris from October 17 to December 21, 2016. Includes a facsimile of the original catalog published for the occasion of the exhibition ‘New Work by Tom Wesselmann’ held at the Sidney Janis Gallery in 1970
'We all know Tom Wesselmann as one of the leading exponents of American Pop Art together with Andy Warhol and Roy Lichtenstein and as the creator of seductively beautiful images, particularly of the female Nude, as in his famous series of one hundred Great American Nudes. What is less often considered are the intriguing complexities and ambiguities that lie beneath the beguiling surfaces and the formal ingenuity of these paintings and the subversive qualities Wesselmann’s work quite often possess. The exhibition 'A Different Kind of Woman' includes paintings with a sharp focus on the depiction of the human form, both female and male, as a whole, or fragmented into various parts.
Brenda Schmahmann has kindly allowed us to reprint her trenchant essay Tom Wesselmann’s Post-Collage Works : ‘Acting in the Gap Between Art and Life’ which caused considerable controversy at the time of its publication. It is as important and relevant today as it was then. To this she added a profoundly thought-provoking postscript entitled Bedroom Painting No. 18 and the Politics of the Gaze bringing debate up to date in amazing ways. Anne Pasternak’s very personal introductory text maps out the whole terrain we are covering with great sensitivity. Its title, like the title of this exhibition, is drawn from a song Tom Wesselmann wrote. 'A Different Kind of Woman’ gives voice to the women Wesselmann painted in the sense of it being a sort of poetic echo of the visual images we are given and an unequivocal declaration of where the artist stands in relation to the women he depicted and loved’.
- Almine Rech