PRINT October 2004


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

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