5 May 2017 - 7 May 2017
This year at Frieze New York, the Alan Cristea Gallery, London, will present a display with a special focus on prints and metal cut-outs by pioneer of the Pop Art movement, Tom Wesselmann (1931 - 2004), which have come directly from the Tom Wesselmann Estate.
Through the mediums of painting, sculpture and print, Wesselmann consistently reinterpreted the subject matter of still life, nude, and landscape, throughout his lifetime. In 1984 he began to make three-dimensional images in cut metal. He enlarged small doodles, cut them out of steel and aluminium and painted them in vivid colours. These new drawings, which include, Tennanah Lake House, 1992, and 1964 Radio Edition, 1964/91, (pictured) were composed of solid shapes and interior voids, becoming the ideal medium for adapting the clean lines and flattened forms of his earlier paintings. The cut out steel editions will be shown alongside screenprints and etchings, some featuring Wesselmann’s longtime studio assistant and model, Monica Serra, and a unique painting on card, Study for House and Barn in Distance, 1991.
The Alan Cristea Gallery will also unveil for the first time a new series of screenprinted aluminium editions by Julian Opie depicting heads and two new publications by Michael Craig-Martin; a series of eight laser cut acrylic editions of everyday ob-jects, and a group screenprints entitled, Design and Architecture, which pairs depictions of iconic 20th-century modernist homes with modernist furniture, such as Villa Savoye by Le Corbusier with a LC4 chaise longue and Farnsworth House by Mies van der Rohe with a Barcelona daybed.
The gallery will also exhibit for the first time a new publication by Cornelia Parker. Original glassware belonging to 19th-century photography pioneer William Henry Fox Talbot, which was used in some of the world’s first photographs, is the subject of nine new etchings entitled, Fox Talbot’s Articles of Glass, 2017. Parker has arranged Fox Talbot’s glassware, which is in the permanent collection of the Bodleian Library, University of Oxford, in various formations on a plate, exposing it to ultra violet light, so that it act as a photographic positive. Parker switches her fascination with the physical properties of objects, materials and their histories, as seen in her sculptures, to the medium of printmaking. Employing the photogravure process, she uses recognisable, familiar everyday objects and pushes them to the point of abstraction.
Following on from a recent collaboration with British sculptor, Antony Gormley, the gallery will exhibit etchings and aquatints alongside a unique monoprint, Show II, 2015-16, taken directly from the artist’s body and composed of crude oil, linseed oil and petroleum jelly. The transfer is achieved by Gormley falling directly onto the paper, the weight of his body leaving a corresponding imprint.
Recent prints by German artist Christiane Baumgartner, who combines the traditional medium of woodcut with contemporary film making, will be exhibited alongside a group of unique hand-painted collages by British painter Clare Woods; classic etchings and woodcuts by Sol LeWitt; iconic screenprinted squares by Josef Albers and hand-painted, collaged prints from Frank Stella’s 1985-89 series, Waves.
Image: Tom Wesselmann; 1964 Radio Edition, 1964/91