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LEADER 03068cam a22004458i 4500

001 ocn829446040;

003 OCoLC;

005 20131127080519.0;

008 130220s2013 ctua b 001 0 eng ;

010 a| 2013007120;

020 a| 9780300188431 (cloth : alk. paper);

020 a| 0300188439 (cloth : alk. paper);

035 a| (Sirsi) 40023142593;

035 a| 40023142593;

035 a| (OCoLC)829446040;

042 a| pcc;

050 00 a| N6490b| .C87 2013;

082 00 a| 709.04/62| 23;

100 1 a| Curley, John J.=| ^A1176210;

245 12 a| A Conspiracy of Images :b| Andy Warhol, Gerhard Richter, and the Art of the Cold War /c| John J. Curley.;

246 30 a| Andy Warhol, Gerhard Richter, and the Art of the Cold War;

264 1 a| New Haven :b| Yale University Press,c| 2013.;

300 a| ix, 279 pages :b| illustrations (some color) ;c| 27 cm;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

504 a| Includes bibliographical references and index.;

505 0 a| Introduction. The art that came in from the cold -- Failures of containment: the case of postwar abstraction -- The development of Andy Warhol's pop eye -- Socialist realism and Gerhard Richter's 'third way' -- Paranoid styles: Warhol's and Richter's conspiracy theories of painting -- The uncontained image: the politics of Warhol's and Richter's blur -- Conclusion. Art and illusion: Cold War art history.;

520 a| "In October 1962, a set of blurred surveillance photographs brought the world to the brink of nuclear apocalypse during the Cuban missile crisis. The pictures themselves demonstrated little, and explanatory captions were necessary to identify the danger for the public. In the following months, two artists with antithetical backgrounds arrived at a similar aesthetic: Andy Warhol, who began his career as a commercial artist in New York City, turned to the silkscreened replication of violent photographs. Gerhard Richter, who began as a mural painter in socialist Dresden, East Germany, painted blurred versions of personal and media photographs. In A Conspiracy of Images, author John J. Curley explores how the artists' developing aesthetic approaches were informed by the political agency and ambiguity of images produced during the Cold War, particularly those disseminated by the mass media on both sides.";

650 0 a| Art, Moderny| 20th centuryx| Themes, motives.=| ^A96991;

650 0 a| Art and societyx| Historyy| 20th century.=| ^A1012450;

600 10 a| Warhol, Andy,d| 1928-1987x| Criticism and interpretation.=| ^A599301;

600 10 a| Richter, Gerhard,d| 1932-x| Criticism and interpretation.=| ^A223946;

650 0 a| Cold Warx| Influence.=| ^A392740;

949 i| 30372013920209o| jjlm;

960 o| 1s| 65.00t| Joyner48u| JAPPz| USD;

596 a| 1;

998 a| 3433008;

999 a| N6490 .C87 2013w| LCc| 1i| 30372013920209d| 6/25/2018e| 10/6/2016l| JGESm| JOYNERn| 1q| 1r| Ys| Yt| JGESBKu| 2/19/2014x| BOOKz| JSTACKSo| .STAFF. jjlm;

A Conspiracy of Images : Andy Warhol, Gerhard Richter, and the Art of the Cold War / John J. Curley.

Author/creator	Curley, John J.
Format	Book
Publication	New Haven : Yale University Press, 2013.
Description	ix, 279 pages : illustrations (some color) ; 27 cm
Subjects	Warhol, Andy, 1928-1987--Criticism and interpretation. Richter, Gerhard, 1932---Criticism and interpretation. Art, Modern--20th century. --Themes, motives. Art and society--History. --20th century. Cold War--Influence.

Portion of title	Andy Warhol, Gerhard Richter, and the Art of the Cold War
Contents	Introduction. The art that came in from the cold -- Failures of containment: the case of postwar abstraction -- The development of Andy Warhol's pop eye -- Socialist realism and Gerhard Richter's 'third way' -- Paranoid styles: Warhol's and Richter's conspiracy theories of painting -- The uncontained image: the politics of Warhol's and Richter's blur -- Conclusion. Art and illusion: Cold War art history.
Abstract	"In October 1962, a set of blurred surveillance photographs brought the world to the brink of nuclear apocalypse during the Cuban missile crisis. The pictures themselves demonstrated little, and explanatory captions were necessary to identify the danger for the public. In the following months, two artists with antithetical backgrounds arrived at a similar aesthetic: Andy Warhol, who began his career as a commercial artist in New York City, turned to the silkscreened replication of violent photographs. Gerhard Richter, who began as a mural painter in socialist Dresden, East Germany, painted blurred versions of personal and media photographs. In A Conspiracy of Images, author John J. Curley explores how the artists' developing aesthetic approaches were informed by the political agency and ambiguity of images produced during the Cold War, particularly those disseminated by the mass media on both sides."
Bibliography note	Includes bibliographical references and index.
LCCN	2013007120
ISBN	9780300188431 (cloth : alk. paper)
ISBN	0300188439 (cloth : alk. paper)

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Joyner	General Stacks	N6490 .C87 2013	✔ Available	Place Hold

A Conspiracy of Images : Andy Warhol, Gerhard Richter, and the Art of the Cold War / John J. Curley.

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