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In this readable and highly original book, John J. Curley presents
the first synthetic account of global art during the Cold War.
Through a careful examination of artworks drawn from America,
Europe, Russia and Asia, he demonstrates the inextricable nature of
art and politics in this contentious period. He dismantles the
usual narrative of American abstract painting versus figurative
Soviet Socialist Realism to reveal a much more nuanced,
contradictory and ambivalent picture of art making, in which the
objects themselves, like spies, dissembled, housed and managed
ideological differences.
Headline-making in every sense, the myriad works of art in which
Andy Warhol used or referenced tabloids throughout his career are
explored in this book as a coherent body for the first time.
Obsessed with contemporary culture, Warhol celebrated the
sensational as well as the mundane in every facet of society. His
headline works, which were realized in a range of formats--from
two-dimensional to time-based media such as film, video, and
television--chart in real time the great shift in the technological
means employed to deliver the news from the 1950s until the
artist's death in 1987. This companion volume to a riveting
exhibition brings together more than 80 works, from Warhol's
earliest drawings and paintings of newspaper headlines, to his
screen-printed canvases, photographs, and electronic media, and
concluding with collaborative works he produced with Keith Haring
and Jean-Michel Basquiat. Featuring illuminating essays and
abundant reproductions of the headline works, as well as source
materials and examples of Warhol's private scrapbooks of clippings,
this unique and powerful volume demonstrates the rich intersection
of mainstream media and fine art.
An important new look at Cold War art on both sides of the Atlantic
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. As the first scholarly consideration of the visual
conditions of the Cold War, A Conspiracy of Images provides a new
and compelling transatlantic model for Cold War art history.
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