TABLE OF CONTENTS

MY POP

Urs Fischer

Layout is what I retain the most from Pop art—specifically the innovation of Pop’s “copy-and-paste” attitude. Warhol is fantastic. I also think about Ed Ruscha, Sigmar Polke, and even John Wesley. Perhaps Wesley’s work is much more psychological than other Pop artists, yet this is why I like him: His work deals more with inner moods. Lichtenstein is hot—the work is what it is and nothing more. Frank Stella treated painting as an image, and that is also something I admire.

There is a greater generosity in the American Pop painters of the ’60s than in the work of their contemporaries across the Atlantic. The Nouveaux Realists, European Fluxus or Junk artists always seemed too contained for my taste. Even if I don’t completely identify with an artist like Jim Rosenquist, I very much enjoy his lavish extravagance. Rosenquist’s paintings function like traditional landscapes, even though they

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the PRINT EDITION of the October 2004 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.