Medieval modern: art out of time
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London
Thames & Hudson
2012
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | http://scans.hebis.de/HEBCGI/show.pl?31044659%5Fkub.html http://scans.hebis.de/HEBCGI/show.pl?31044659%5Faub.html Rezension Inhaltsverzeichnis |
| Beschreibung: | 312 S. zahlr. Ill., graph. Darst. |
| ISBN: | 9780500238974 0500238979 |
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Datensatz im Suchindex
| _version_ | 1804149750479454208 |
|---|---|
| adam_text | Alexander Nagel
MEDIEVAL
MODERN
ART
OUT OF TIME
with
134
illustrations,
104 in
colour
Thames
&
Hudson
CONTENTS
7
Chapter
ι
Not a longer history, a different history
The eighteenth century is still effectively the
horizon of accounts of modern art «The modem/
postmodern divide is less relevant than it once was
•
Developments within medieval and Renaissance
studies have released earlier material from old
historiographie
models
·
Recent assemblages of the
medieval and the modern
·
Before the emergence
of the picture gallery in the eighteenth century,
installation art was the norm
·
The twentieth-century
preference for the index over the icon
¡s a
revival of
medieval practice, as was the championing of seriality
and replication
·
Collage was a primary modality of
medieval art
·
Conceptual art as one episode in a long
history of Christian debates over idolatry
22
Chapter
2
Learning to live without artistic periods
Eisenstein s premodenrmontages
·
Comparisons
between medieval and modern will bring out
differences more than affinities
·
Cases where
there is active recourse to medieval models will be
accompanied by staged collisions between the two
•
Medieval in this book really means
premodern,
ranging from the advent of Christianity through
Bernini
·
What makes twentieth-century medievalism
different from nineteenth-century medievalizing
movements, such as the pre-Raphaelites and the
Nazarenes?
·
Why it is impossible for this book to
follow a chronological presentation
27
Chapter
з
If you go far back enough, the West is
not Europe A set of cultural practices preceding
a Eurocentric world view
·
Picasso s
Les Demoiselles
d Avignon
incorporates African and Oceanic references,
but its organizing structure derives from altarpieces
•
Emergence of a notion of Europe in the sixteenth
century
·
To inhabit the Western Middle Ages is to
inhabit a decentered and decentralized culture
·
Orientations of Christian medieval art
·
The framework
proposed here destabilizes the terms Western art
and modernism
34
Chapter
4
Airplanes and altarpieces Who could
do anything better than this propeller?
·
Apollinaire
compares
Blérioťs
airplane to a celebrated Madonna
by Cimabue
·
Panels before framed pictures
·
Cimabue s Louvre altarpiece as a spaceship
·
Jesus
is my air
0
plane
·
Breton compares
Les Demoíseí/es
d Avignon
to Cimabue s sacred ¡mage
44
Chapter
5
Works become environments and
environments become works The opposition between
the framed picture and the site-specific work is a
modernist myth
·
Late medieval art reveals Instead
a pattern of commutation between objects and their
environments
·
The history of the modern museum
is only one episode in this larger pattern
·
Museums
as chapels and chapels as museums
·
Marinetti and
Kandinsky on the museum
·
Pictures were not detached
from multimedia environments so much as they
internalized them
58
Chapter
б
The history of the museum is the history
of modern art The material and conceptual boundaries
of the easel picture turn out never to have been very
stable »The critique of the museum originated with
its inception
·
Quatremère de Quincy
and the artistic
ensemble
·
How
Quatremère s
polemic is caught up
in the logic he is protesting
·
Art under the conditions
of speculation
·
Anticipations of modernist and
postmodernist critiques
·
Works of art as relics
69
Chapter
7
Painting as second-order observation
Re-entry of work of art and environment
·
Painting as
the master medium of re-entry
·
Gentile da Fabriano s The
Crippled and the Sick Cured at the Tomb of Saint Nicholas
as an anthropological picture
·
Painting is well suited
to the task of blending places and times
·
Kinaesthetic
experiences of artistic ensembles came into conceptual
focus as an effect of pictorial visualizations
84
Chapter
8
The debate over idolatry persists
In Michelangelo s Medici Chapel, the space of
altarpieces is retranslated into three dimensions, which
is thus a space of art
·
Comparison to Minimalist
installations by Flavin and Morris
·
The work includes
the beholder· In the thick of an ancient dispute over
idolatry and
Iconoclasm
·
Both Fried and his opponents
believed they were offering an answer to idolatry
·
The
Medici Chapel as a post-pictorial reaction
·
Installation
art and painting as phases of one another
97
Chapter
9
Topographical instability Why
Heiner
Friedrich
found inspiration for the
Dia Art
Foundation
in Giotto s Arena Chapel
·
What is a Christian
chapel?
·
How Jerusalem can take place in Rome
·
Topographical destabilization reveals space and time
to be malleable
·
Buildings on holy sites are not merely
commemoration, but proof that these were never
merely historical sites
·
Striated and smooth space
·
Premodern
ecclesiastical environments are difficult to
recover after the clean-up of the Reformation and the
Counter-Reformation
·
Relics and their containers
·
Soil as a formless reliquary
·
How the Jerusalem
Chapel went from being a spatio-temporal wrinkle
to a sited space
116
Chapter
10
Non-site-specificity
Smithson
brings
Franklin, New Jersey, to New York
·
Christian
topographical reliquaries
·
The distance between the
Site and the Non-site could be called anti-travel
·
How can you be in two places at once when you are
nowhere at all? : the art gallery as de-territorialized site
•
The Non-site as a tool for thinking about Christian
chapels
·
Smithson
applies the logic of the Non-site to
the Holy Land and then withdraws from the idea
133
Chapter
π
The Mannerist inhuman
Smithson
on Worringer and
Hulme
·
Mannerism crystallizes
an alternative to anthropomorphism
·
Mannerist
polyhedrons
·
Smithson
on
Brecht
on Brueghel
·
Cool
Smithson
versus hot
Smithson
·
Ice seething
with activity
·
Smithson
on Parmigianino
·
Sculpture in
the expanded field placed in a theological framework
ι
55
Chapter
12
The year
196z:
Mosaic resonance
Three medievalists
—
Eco,
Steinberg, and McLuhan
—
intervene in contemporary culture
·
The Gutenberg
Galaxy informs its readers that we are entering a
new Middle Ages
·
Why mosaic is the modality
of the electronic media
·
McLuhan photographed
in acoustic space
·
The link between
Bauhaus
and McLuhan passes through medieval tactility·
Photography as the medium of its own expansion
169
Chapter
13
The year
196г:
Aux frontières de l illimité
et de l avenir
The hinge between Eco s
Opera aperta
and his
Sviluppo dell estetica medievale
·
Joyce and
the Summa
of chaos »The embrace of chance and
indeterminacy in the open work are connected to the
search for a world-involving integration
·
Eco
throws
up barriers between the open work and medieval
modalities of multiple reading, but they are dismantled
by
Battisti
·
Cage s
Fontana Mix
178
Chapter^ Environments,
flatbeds,
and other forms
of receivership
Kaprów
announces that Pollock leaves
us at the threshold of the Middle Ages
·
Steinberg on
Johns as the end of the line
·
Let the world in again
•
Art before the easel picture is the unstated term in
Steinberg s schema
·
Altarpieces as
fiatbeds
·
Why
Caravaggio is Johns s historical alter ego
196
Chapter
15
Inside and out Various versions of
the three-era model of medievalism, whereby an
intervening period is put to an end by contemporary
developments that bring into relevance the earlier,
medieval art
·
Ways of throwing this model into
question
·
Prints offered a new plane for the
circulation and reception of ¡mages, well before the
gallery picture and the museum
· Watteau
makes a
sign for the outside of the picture shop
·
Royal-sacred
art sold and crated «The commodity is both object
and phantasm «The old paintings prefigure their
eventual use
·
Watteau s
Enseigne
and Johns s Flag
210
Chapter
16
Limits of the
diaphane
The index
resurfaces in twentieth-century art
·
The twentieth
century pits the index against the optical ¡mage,
whereas in medieval art icon and index are not
so easily separated, as Duchamp understood
·
Camillo and painting as one phase of the distributed
body
·
Pound explains
Cavalcanti
to the age of the
lightbulb and the current hidden in air and in wire
·
The
diaphane
of
Cavalcanti
and Dante in Pound and
Joyce
·
Duchamp s Large Glass as
a diaphane
·
An
element of medieval anachronism made Pound and
Duchamp contemporary to each other in the
1
920s
228
Chapter
17
Relics and reproducibles And yet the
boundary between index and icon is at issue in
Christian art
·
Grounds of the religious ¡mage
·
The technological reproducibility of the icon
·
The
revival of the idea of the multiple in modernism
·
Images as relic: another prototype of the work of
art »The logic of the sample· Devotion and the
abject
·
Consecration of the ordinary
·
Why the
relic is not the same as the readymade and yet is
necessary to understanding it
·
The afterlife of the
relic in twentieth-century art
·
The readymade beyond
institutional critique
241
Chapter
18
Cathedral thinking The Gothic cathedral
as
Bauhaus
emblem
·
Collective production and
distributed display in the new building of the future
·
Behne and the return of art to the spiritual integration
of the Middle Ages
·
Pervasiveness of spiritual
rhetoric in avant-garde writings of the 1910s
·
Glass
architecture
·
Feininger s fractal structures connect
image, user, and environment
248
Chapter
19
Instead of cathedrals, machines for
living Turn away from
utopia
·
Worringer declares
Expressionism dead
·
Behne: from
Heiligenbild
to
Kunst
to
Gestaltung ·
El Lissitzky against the
painted coffin for our living bodies
·
Stained glass
and dynamic color construction
·
The static god
will become a dynamic god
·
Pinder and medieval
kinaesthetic proprioception
·
What we used to
call art begins at a distance of two meters from the
body
·
The medieval roots of Benjamin s concept of
receptivity in a state of distraction
263
Chapter
20
Cathedral of Erotic Suffering Schwitters
from collage to
Merzarchitektur
Cathedrals are made
out of wood
·
The absorption in art comes very close
to the divine liturgy
·
An archeology of display practices
from a post-museum future
·
Neither museum nor
cathedral but a dismantling of both
·
We are only now
beginning to apply the lessons of the
Merzbau
275
Conclusion The entropy of medievalism
27g
Bibliographical sources
304
Illustration credits
306
Acknowledgments
307
Index
|
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| author | Nagel, Alexander 1964- |
| author_GND | (DE-588)142375861 |
| author_facet | Nagel, Alexander 1964- |
| author_role | aut |
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| building | Verbundindex |
| bvnumber | BV040637008 |
| classification_rvk | LH 65000 |
| ctrlnum | (OCoLC)820394055 (DE-599)BSZ375994211 |
| discipline | Kunstgeschichte |
| edition | 1. publ. |
| era | Geschichte 500-2012 gnd Geschichte 500-1500 gnd Geschichte 1900-2012 gnd |
| era_facet | Geschichte 500-2012 Geschichte 500-1500 Geschichte 1900-2012 |
| format | Book |
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| id | DE-604.BV040637008 |
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| indexdate | 2024-07-10T00:27:59Z |
| institution | BVB |
| isbn | 9780500238974 0500238979 |
| language | English |
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| spelling | Nagel, Alexander 1964- Verfasser (DE-588)142375861 aut Medieval modern art out of time Alexander Nagel 1. publ. London Thames & Hudson 2012 312 S. zahlr. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier Geschichte 500-2012 gnd rswk-swf Geschichte 500-1500 gnd rswk-swf Geschichte 1900-2012 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Rezeption (DE-588)4049716-1 gnd rswk-swf Kunst (DE-588)4114333-4 s Geschichte 500-2012 z DE-604 Geschichte 500-1500 z Rezeption (DE-588)4049716-1 s Geschichte 1900-2012 z X:Nielsen text/html http://scans.hebis.de/HEBCGI/show.pl?31044659%5Fkub.html X:Nielsen text/html http://scans.hebis.de/HEBCGI/show.pl?31044659%5Faub.html http://www.sehepunkte.de/2014/11/23623.html rezensiert in: sehepunkte 14 (2014), Nr. 11 Rezension KUBIKAT Anreicherung application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025464139&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Nagel, Alexander 1964- Medieval modern art out of time Kunst (DE-588)4114333-4 gnd Rezeption (DE-588)4049716-1 gnd |
| subject_GND | (DE-588)4114333-4 (DE-588)4049716-1 |
| title | Medieval modern art out of time |
| title_auth | Medieval modern art out of time |
| title_exact_search | Medieval modern art out of time |
| title_full | Medieval modern art out of time Alexander Nagel |
| title_fullStr | Medieval modern art out of time Alexander Nagel |
| title_full_unstemmed | Medieval modern art out of time Alexander Nagel |
| title_short | Medieval modern |
| title_sort | medieval modern art out of time |
| title_sub | art out of time |
| topic | Kunst (DE-588)4114333-4 gnd Rezeption (DE-588)4049716-1 gnd |
| topic_facet | Kunst Rezeption |
| url | http://scans.hebis.de/HEBCGI/show.pl?31044659%5Fkub.html http://scans.hebis.de/HEBCGI/show.pl?31044659%5Faub.html http://www.sehepunkte.de/2014/11/23623.html http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025464139&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT nagelalexander medievalmodernartoutoftime |