Awakenings: Art in Society in Asia 1960s–1990s, a major retrospective at Singapore's National Gallery (14 June–15 September 2019), opens emphatically in flames. At the exhibition's entrance, viewers encounter a wall-sized image from 1964 titled Burning Canvases Floating on the River. The photograph captures a performance by Lee Seung-taek, in which...
When the London-born artist Thomas J Price graduated with a Bachelor of Fine Arts from Chelsea College of Arts in 2004, the school's college art prize was by no means his most notable accomplishment as an emerging artist. In 2001, Price presented his much-talked-about work Licked, a daring performance, later profiled on the BBC 4 television...
Without punctuation, She Said Why Me, the title of May Fung's 1989 video presents itself as a statement, rather than a question. It suggests a subject who expects no response, a person prepared to make what she can from being chosen though perplexed by the attention. The video follows a blindfolded woman, then unmasked, through late colonial-era...
This book is published in conjunction with Tom Wesselmann’s exhibition A different kind of woman, held at Almine Rech Gallery Paris, from October 17th to December 21st, 2016 and includes a facsimile of the original catalogue published in 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 ans 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.'
– Almine Rech
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
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