Wesselmann, Tom
Great American Nude No. 54
1964
1/3© mumok
2/3© mumok
3/3© mumok
| Object description | Oil, acrylic and collage on canvas, various materials, tape recording of quiet street sounds |
|---|---|
| Object category | installations |
| Dimensions |
Gewicht:
weight: 18 kg
Objekt:
height: 225,5 cm,
width: 188,8 cm,
depth: 6 cm,
height: 225,5 cm,
width: 82 cm,
depth: 6 cm,
height: 225,5 cm,
width: 100 cm,
depth: 24 cm,
height: 24 cm,
width: 262,5 cm,
depth: 98,5 cm,
height: 64 cm,
width: 55 cm,
depth: 11,3 cm,
height: 72,5 cm,
width: 82 cm,
depth: 51 cm,
height: 112,5 cm,
width: 82 cm,
depth: 51 cm,
height: 87,5 cm,
width: 39,5 cm,
depth: 46 cm,
height: 214 cm,
width: 260 cm,
depth: 133 cm
|
| Year of acquisition | 1981 |
| Inventory number | ÖL-Stg 153/0 |
| Creditline | mumok - Museum moderner Kunst Stiftung Ludwig Wien, Leihgabe der Österreichischen Ludwig-Stiftung |
| Rights reference | Bildrecht, Wien |
| Further information about the person | Wesselmann, Tom [GND] |
| Literature |
I Love Pop. Europa-Usa anni '60. Mitologie del quotidiano Colecciòn MMKSLW, Viena. De Warhol a Cabrita Reis les années pop 1956-1968 Hyper Real annees Pop : 1956 - 1968 ; exposition presentee au Centre Pompidou, Galerie 1, 15 mars - 18 juin 2001 Pop forever : Tom Wesselmann... |
Tom Wesselmann’s assemblage "Great American Nude No. 54" presents a collection of clichés about the “American way of life”. Consisting of a synthesis of painting, photography and real objects, it creates an American living scenario on a kind of stage which has the effect of extending the banality of everyday life into the exhibition. The telephone, the radiators, the flower bouquet in its cliché-like arrangement, vegetables and diverse tasty treats take us into a petit bourgeois interior. The view from the window shows a tree with fall leaves. On the left, the carpet of this living stage expands into a painted, imaginary bedroom The window here shows the same view and on the wall at the far end of the room there is a modern, abstract painting in the style of Josef Albers. However, our attention focuses ? quite in keeping with advertising psychology ? on the depiction of the naked woman on the bed. She is presented to the viewer’s gaze in an erotic pose with her legs openly spread apart. The domestic surroundings are depicted as the site of a sexual imaginings and desires, the woman’s body is a part of this highly effective advertising staging and a projection surface for sexual desires. ”Personality would only detract from the naked fact of her nudity. Whenever physical details are shown they are important for the erotic simplification as with the lips or nipples,” argues Wesselmann, an artist who integrates the clichés and strategies of advertising into his works.
© mumok – museum moderner kunst stiftung ludwig wien