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Book Cover
Author Nagel, Alexander.

Title Medieval modern : art out of time / Alexander Nagel.

Published New York : Thames & Hudson, 2012.


Location Call No. Status
 UniM Bail  709.02 NAGE    AVAILABLE
 UniM Bail  709.02 NAGE    AVAILABLE
Physical description 312 pages : illustrations (some colour) ; 25 cm
Bibliography Includes bibliographical references (pages 279-304) and index.
Contents Chapter 1 Not a longer history, a different history 7 -- Eighteenth century is still effectively the horizon of accounts of modern art -- Modern/postmodern divide is less relevant than it once was -- Developments within medieval and Renaissance studies have released earlier material from old historiographic 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 -- Twentieth-century preference for the index over the icon is 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 -- Chapter 2 Learning to live without artistic periods 22 -- Eisenstein's premodern montages -- 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 -- Chapter 3 If you go far back enough, the West is not "Europe" 27 -- 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 -- Framework proposed here destabilizes the terms "Western art" and "modernism" -- Chapter 4 Airplanes and altarpieces 34 -- "Who could do anything better than this propeller?" -- Apollinaire compares Blériot's airplane to a celebrated Madonna by Cimabue -- Panels before framed pictures -- Cimabue's Louvre altarpiece as a spaceship -- "Jesus is my air o plane" -- Breton compares Les Demoiselles d'Avignon to Cimabue's "sacred image" -- Chapter 5 Works become environments and environments become works 44 -- 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 -- 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 -- Chapter 6 History of the museum is the history of modern art 58 -- Material and conceptual boundaries, of the easel picture turn out never to have been very stable -- 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 -- Chapter 7 Painting as second-order observation 69 -- 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 -- Chapter 8 Debate over idolatry persists 84 -- 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 -- 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 -- Medici Chapel as a post-pictorial reaction -- Installation art and painting as phases of one another -- Chapter 9 Topographical instability Why Heiner 97 -- 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 -- Chapter 10 Non-site-specificity 116 -- 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 -- 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 -- Chapter 11 Mannerist inhuman 133 -- 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 -- Chapter 12 Year 1962: Mosaic resonance 155 -- Three medievalists-Eco, Steinberg, and McLuhan-intervene in contemporary culture -- 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" -- Link between Bauhaus and McLuhan passes through medieval tactility? Photography as the medium of its own expansion -- Chapter 13 Year 1962: "Aux frontières de l'illimité et de l'avenir" The hinge between Eco's Opera aperta and his Sviluppo dell'estetica medievale 169 -- Joyce and the Summa of chaos -- 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 -- Chapter 14 Environments, flatbeds, and other forms of receivership 178 -- Kaprow 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 flatbeds -- Why Caravaggio is Johns's historical alter ego -- Chapter 15 Inside and out 196 -- 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 images, 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 -- Commodity is both object and phantasm -- Old paintings prefigure their eventual use -- Watteau's Enseigne and Johns's Flag -- Chapter 16 Limits of the diaphane 210 -- Index resurfaces in twentieth-century art -- Twentieth century pits the index against the optical image, 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" -- 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 1920s -- Chapter 17 Relics and reproducibles And yet the boundary between
index and icon is at issue in Christian art 228 -- Grounds of the religious image -- Technological reproducibility of the icon -- Revival of the idea of the multiple in modernism -- Images as relic: another prototype of the work of art -- 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 -- Afterlife of the relic in twentieth-century art --
Readymade beyond institutional critique -- Chapter 18 Cathedral thinking The Gothic cathedral as Bauhaus emblem 241 -- 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 -- Chapter 19 Instead of cathedrals, machines for living "Turn away from Utopia" 248 -- 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" -- Medieval roots of Benjamin's concept of receptivity in a state of distraction -- Chapter 20 Cathedral of Erotic Suffering Schwitters from collage to Merzarchitektur 263 -- "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.
Subject Art, Medieval -- Influence.
Art -- History.
Variant Title Art out of time.
ISBN 9780500238974 (hbk.)
0500238979 (hbk.)