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Medieval Modern Art Out of Time

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ISBN-10: 0500238979

ISBN-13: 9780500238974

Edition: 2012

Authors: Alexander Nagel

List price: $45.00
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Classic modern design never goes out of style: it is merely retiredor subtly adapted to its given place and time. Having surveyed handwritten,new vintage, and new ornamental tendencies in type andlettering, graphic-design guru Steven Heller now turns his encyclopedicgaze on Modernism.New Modernist Type reveals how a graphic language of simplicity andeconomy has impacted contemporary design. Hundreds of examplesby international designers are grouped into three thematic chapters:Old Modern (when the machine age influenced graphic design),Playful Modern (wit, humor, and transformation), and Meta Modern(typography as icon and symbol).An historical introduction places today’s tendencies in…    
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Book details

List price: $45.00
Copyright year: 2012
Publisher: Thames & Hudson
Publication date: 12/15/2012
Binding: Hardcover
Pages: 312
Size: 7.00" wide x 9.50" long x 1.50" tall
Weight: 2.640
Language: English

Not a longer history, a different history
The eighteenth century is still effectively the horizon of accounts of modern art
The 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
The 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
Learning to live without artistic periods
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
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"
Airplanes and altarpieces
"Who could do anything better than this propeller?"
Apollinaire compares Bl�riot'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"
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
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
Quatrem�re de Quincy and the artistic "ensemble"
How Quatrem�re'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
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
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
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
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
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
The year 1962: 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
The year 1962: "Aux fronti�res de l�illimit� 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
Environments, flatbeds, and other forms of receivership
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
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 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
The commodity is both object and phantasm
The old paintings prefigure their eventual use
Watteau's Enseigne and Johns's Flag
Limits of the diaphane
The index resurfaces in twentieth-century art
The 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"
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 1920s
Relics and reproducibles And yet the boundary between index and icon is at issue in Christian art
Grounds of the religious image
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
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
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
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
Conclusion The entropy of medievalism
Bibliographical sources
Illustration credits