Smoker #21 1975

Editor: Here we have Tom Wesselmann’s "Smoker #21," an oil on canvas painted in 1975. I'm struck by how tactile and almost cartoonish it is. What do you make of it? Curator: The large scale immediately directs our attention to the materiality. The oil paint becomes a tool to almost manufacture desire, transforming an everyday action like smoking into a highly sexualized commodity. Look at how Wesselmann isolates the mouth—it’s removed from the context of the whole face and therefore divorced from conventional portraiture. What does that imply for you? Editor: It makes me think about the commodification of beauty, maybe? It's almost like he's selling us just this one desirable feature, completely detached. Curator: Exactly. Think about the Pop Art movement in general and its fascination with mass production. Wesselmann is not just depicting a smoker, he’s almost manufacturing a product through the application of oil on canvas, using industrial techniques and processes, a commentary on how we consume images. It also makes you consider the artist's studio as a factory floor. Editor: I hadn't really thought of the studio that way. It's like he's consciously blurring the line between high art and advertising. Is he making a statement about the societal pressures surrounding women's beauty and habits like smoking? Curator: Absolutely. The piece also points towards labor—the act of painting and the social act of smoking are inherently intertwined in the work itself, reflecting how individuals create identity through consumption. Wesselmann also compels us to examine gender and social habits through a unique artistic lens. Editor: That’s a very different angle than I had considered before. Curator: It shows you how paying attention to material choices helps to consider production and societal impact, revealing deeper meanings in the work. Editor: Definitely something to chew on. Thank you for sharing that!