Gary Silverlake with Tom Wesselmann
Wesselmann’s inquiries into the material qualities of painting evolved, and in 1972 he exhibited a Standing Still Life for the first time at the Sidney Janis Gallery in New York, along with a selection of smaller works from his Bedroom Paintings series. The still lifes imply narratives: in Still Life #60 (1973), a huge six-part work measuring almost thirty feet in width, the objects, which appear to be the contents of a woman’s purse, suggest a human presence; a visitor who has placed her belongings on a bedside table. In a sense, the still life has become a stand-in for the nude, or the intimate portrait of the beloved subject, Claire [Selley], absent from the image itself. - Taken from the Gagosian Gallery Press Release
A man of few words, I asked Gary for his take on the Wesselmann exhibition in just one word.