From its two-toned color palette to the symmetrical oscillation of silhouetted female forms, Let’s Get Out of the Hall is a prime example of John Wesley’s work. Debuted at Kassel’s Documenta 5 in 1972, Let’s Get Out of the Hall illustrates Wesley’s unmatched ability to convey erotic desires and fears found deep within the human psyche.
Inspired by Andy Warhol’s repeated Tomato Soup Cans, Giorgio de Chirico’s metaphysical paintings, and the comic strip Blondie, Wesley continually combined the characteristics of playful cartoons with tantalizing imagery that together draw the viewer into a sense of allurement. Let’s Get Out of the Hall tessellates the contour of female bare legs in a lyrical dance, while being pursued by an open-mouthed dalmation in a metaphorical erotic chase. Composed in his signature muted pinks against a powder blue backdrop, the contrastingly stark black contours position the work decidedly in the Pop canon, while retaining its unique Wesleyan qualities.
"Wesley was intent rather on depicting the habits and common places with which we fill our lives as darkly humorous, and he did so with all conceivable visual cunning."i –Martin Hentschel
i Martin Hentschel, John Wesley’s Wondrous World, in John Wesley: The Bumsteads, Fredericks & Freiser, New York, 2007, p. 6.
來源
洛杉磯Daniel Weinberg畫廊 亞特蘭大私人收藏 Kevin Bruk Fine Art畫廊 現藏者購自上述來源
過往展覽
Kassel, Documenta 5, June 30–October 5, 1972 Los Angeles, Daniel Weinberg Gallery, Time and Again, June 15–July 20, July 2002
文學
José Pierre, An Illustrated Dictionary of Pop Art, London, 1977, p. 157 (illustrated) Christopher Knight, "Tim Bavington Sprays Exuberant, Visual Music," Los Angeles Times, July 12, 2002, online Germano Celant, ed., John Wesley, exh. cat., Fondazione Prada, Venice, 2009, no. 226, pp. 139, 508 (illustrated, p. 139)