A CONSPIRACY OF IMAGES/ ANDY WARHOL, GERHARD RICHTER, AND THE ART

In October 1962, a set of blurred surveillance photographs brought the world to the brink of nuclear apocalypse during the Cuban mis sile crisis. The pictures themselves demonstrated little, and explanatory captions were necessary to identify the danger for the pub lic. In the following months, two artists with antithetical backgrounds arrived at a similar aesthetic: Andy Warhol, who began his c areer as a commercial artist in New York City, turned to the silkscreened replication of violent photographs. Gerhard Richter, who b egan as ...[Read more]