Tom Wesselmann und die Pop Art
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Tom Wesselmann (1931-2004) simply loved country music, to such an extent that he had not only had his ownband, but he also wrote and arranged songs himself, such as one that lends its beautiful title to this book. As a re-sult, many a work was accompanied by the loud strains of music emanating from a built-in radio or TV set.Wesselmann is in illustrious company alongside the most prominent exponents of the New York Pop Art scene, such as Warhol, Lichtenstein and Rosenquist. He became well-known at the beginning of the 1960s with his Great American Nudes, life paintings of women that enacted the American Dream in ironic manner using the female body-above all the naked bodies of women-as a stage. In addition to this, Wesselmann, like many of his artist compatriots, pursued an avid interest in traditional still lifes. This complex of works that has been largely ignored hitherto is now the subject of both the exhibition in Ravensburg curated by Nicole Fritz as well as the accompanying catalogue conceived by Nicole Fritz and Franz Schwarzbauer. Using top-notch works by Wesselmann, they notonly examine individual, incremental changes and developments in his oeuvre, i.e. via the collages, shaped canvases to the laser cut-outs from the late 1990s, but also investigate their specifically American quality. It is most impressive then to witness that the allusion to European art in Wesselmann's work as well that in as Pop Art in general, from Matisse, C?zanne via Monet, fundamentally represents an amalgam for the cultural attitude of forminga tradition without tradition that de Tocqueville had already described in the 19th Century.
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