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The art that came in from the cold: ...

Curley, John J.

The art that came in from the cold: Andy Warhol and Gerhard Richter, 1950--1968.

紀錄類型:	書目-電子資源 : 單行本
正題名/作者:	The art that came in from the cold: Andy Warhol and Gerhard Richter, 1950--1968./
作者:	Curley, John J.
面頁冊數:	409 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2212.
Contained By:	Dissertation Abstracts International68-06A.
標題:	Art History. -
電子資源:	Download PDF (下載PDF全文)
ISBN:	9780549065913

The art that came in from the cold: Andy Warhol and Gerhard Richter, 1950--1968.
Curley, John J.

The art that came in from the cold: Andy Warhol and Gerhard Richter, 1950--1968. - 409 p.

Source: Dissertation Abstracts International, Volume: 68-06, Section: A, page: 2212.

Thesis (Ph.D.)--Yale University, 2007.

During the cold war, photography was both a trusted evidentiary source and a hidden form of abstraction. The slippery relationship between the irrational and the rational, between ideological rhetoric and lived experience, was only a blur away. This dissertation identifies the photographic appropriation in global forms of pop art as a product of the conflict's visual and ideological contradictions. I focus on two artists trained in opposing cold war camps during the 1950s: Andy Warhol was a commercial artist and Gerhard Richter was a socialist realist wall painter. Throughout their respective work, each came to understand the deep, structural similarities between the visual cultures of capitalism and socialism, especially how both sides needed and yet feared the mutability of the photograph. When cold war visual culture is considered as a continuous field, Warhol's and Richter's appropriated paintings intervene between the conflict's political and artistic poles, demonstrating the ambiguity inherent in any act of interpretation, whether visual, historical, or ideological. These painted explorations into the visual culture of the cold war expose its allegorical impulse: the attempt and subsequent failure to give coherent form and meaning to a conflict dependent on images. Not only is this dissertation the first to consider either Warhol or Richter in terms of the cold war---it also offers a new interpretative model for art during the conflict, one that dismantles traditional debates about figuration and abstraction through a consideration of photography.

ISBN: 9780549065913Subjects--Topical Terms:

1000005770
Art History.

The art that came in from the cold: Andy Warhol and Gerhard Richter, 1950--1968.
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500 $a Advisers: David Joselit; Christine Mehring.
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520 $a During the cold war, photography was both a trusted evidentiary source and a hidden form of abstraction. The slippery relationship between the irrational and the rational, between ideological rhetoric and lived experience, was only a blur away. This dissertation identifies the photographic appropriation in global forms of pop art as a product of the conflict's visual and ideological contradictions. I focus on two artists trained in opposing cold war camps during the 1950s: Andy Warhol was a commercial artist and Gerhard Richter was a socialist realist wall painter. Throughout their respective work, each came to understand the deep, structural similarities between the visual cultures of capitalism and socialism, especially how both sides needed and yet feared the mutability of the photograph. When cold war visual culture is considered as a continuous field, Warhol's and Richter's appropriated paintings intervene between the conflict's political and artistic poles, demonstrating the ambiguity inherent in any act of interpretation, whether visual, historical, or ideological. These painted explorations into the visual culture of the cold war expose its allegorical impulse: the attempt and subsequent failure to give coherent form and meaning to a conflict dependent on images. Not only is this dissertation the first to consider either Warhol or Richter in terms of the cold war---it also offers a new interpretative model for art during the conflict, one that dismantles traditional debates about figuration and abstraction through a consideration of photography.
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