signed, titled and dated 1992 on the reverse
"Painted cut-out-like female figures by John Wesley, Tom Wesselman's American Nudes or Mel Ramos and James Rosenquist's eroticised imageries, which objectify women in a pronounced manner, enlarging their sexual 'selling points," all functioned in a similar way. These 'period' pictures of eroticised, clichéd femininity, often unashamedly candid and exploitative, evolve from a sanitised and sterile hedonism of consumption that marked in particular the American version of 1960s and 1970s Pop Art, and found its recycling par excellence in the work of Jeff Koons during the 1990s."
(Kerstin Mey, Art and Obscenity, .B.Tauris, London, 2007, p. 28)
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