Smoker, 1 1967

Editor: Here we have Tom Wesselmann’s “Smoker, 1” from 1967, created using enamel paint. It's dominated by enormous red lips and a hand holding a cigarette. It’s… strangely clinical, I think, even with such a traditionally sensual image. What are your initial thoughts looking at it? Curator: My immediate reaction is how effectively Wesselmann leverages the visual language of advertising. Think about the "Mad Men" era. What was the public image of smoking, and who controlled that narrative? Editor: So you’re saying it’s almost like… propaganda? An advertisement for itself? Curator: Not propaganda, necessarily, but definitely engaged with the politics of imagery and public perception. The scale, the hyper-real color, the detached composition—they all speak to the pervasive presence of advertising in shaping cultural norms, especially ideals of beauty. Consider how this image, presented at such a monumental scale, inserts itself into a dialogue about consumer culture. Who benefits from making smoking look glamorous? Editor: That makes me think about the power structures at play. Like, who gets to define what’s "sexy" or "cool," and what's the impact on society? Curator: Precisely. How did the institutions of advertising and art intersect, especially during the rise of Pop Art? What responsibilities did artists have when engaging with these pervasive, powerful messages? And did they challenge or reinforce these narratives? Editor: I see it differently now. Before, I just saw a big, sort of sexy image, but I see that it’s engaged with the art world's reflection of pop culture at the time. Curator: Exactly. These questions and conflicts were crucial for understanding art's place in society back then and now. It really highlights the role of museums to re-examine assumptions.