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| Not a longer history, a different history | |
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| The eighteenth century is still effectively the horizon of accounts of modern art | |
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| The modern/postmodern divide is less relevant than it once was | |
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| Developments within medieval and Renaissance studies have released earlier material from old historiographic models | |
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| Recent assemblages of the medieval and the modern | |
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| Before the emergence of the picture gallery in the eighteenth century, installation art was the norm | |
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| The twentieth-century preference for the index over the icon is a revival of medieval practice, as was the championing of seriality and replication | |
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| Collage was a primary modality of medieval art | |
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| Conceptual art as one episode in a long history of Christian debates over idolatry | |
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| Learning to live without artistic periods | |
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| Eisenstein's premodern montages | |
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| Comparisons between medieval and modern will bring out differences more than affinities | |
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| Cases where there is active recourse to medieval models will be accompanied by staged collisions between the two | |
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| "Medieval" in this book really means premodern, ranging from the advent of Christianity through Bernini | |
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| What makes twentieth-century medievalism different from nineteenth-century medievalizing movements, such as the pre-Raphaelites and the Nazarenes? | |
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| Why it is impossible for this book to follow a chronological presentation | |
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| If you go far back enough, the West is not "Europe" | |
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| A set of cultural practices preceding a Eurocentric world view | |
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| Picasso's Les Demoiselles d'Avignon incorporates African and Oceanic references, but its organizing structure derives from altarpieces | |
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| Emergence of a notion of Europe in the sixteenth century | |
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| To inhabit the Western Middle Ages is to inhabit a decentered and decentralized culture | |
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| Orientations of Christian medieval art | |
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| The framework proposed here destabilizes the terms "Western art" and "modernism" | |
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| Airplanes and altarpieces | |
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| "Who could do anything better than this propeller?" | |
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| Apollinaire compares Bl�riot's airplane to a celebrated Madonna by Cimabue | |
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| Panels before framed pictures | |
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| Cimabue's Louvre altarpiece as a spaceship | |
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| "Jesus is my air o plane" | |
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| Breton compares Les Demoiselles d'Avignon to Cimabue's "sacred image" | |
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| Works become environments and environments become works | |
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| The opposition between, the framed picture and the site-specific work is a modernist myth | |
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| Late medieval art reveals instead a pattern of commutation between objects and their environments | |
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| The history of the modern museum is only one episode in this larger pattern | |
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| Museums as chapels and chapels as museums | |
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| Marinetti and Kandinsky on the museum | |
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| Pictures were not detached from multimedia environments so much as they internalized them | |
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| The history of the museum is the history of modern art | |
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| The material and conceptual boundaries, of the easel picture turn out never to have been very stable | |
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| The critique of the museum originated with its inception | |
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| Quatrem�re de Quincy and the artistic "ensemble" | |
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| How Quatrem�re's polemic is caught up in the logic he is protesting | |
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| Art under the conditions of "speculation" | |
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| Anticipations of modernist and postmodernist critiques | |
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| Works of art as relics | |
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| Painting as second-order observation | |
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| Re-entry of work of art and environment | |
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| Painting as the master medium of re-entry | |
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| Gentile da Fabriano's The Crippled and the Sick Cured at the Tomb of Saint Nicholas as an anthropological picture | |
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| Painting is well suited to the task of blending places and times | |
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| Kinaesthetic experiences of artistic ensembles came into conceptual focus as an effect of pictorial visualizations | |
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| The debate over idolatry persists | |
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| In Michelangelo's Medici Chapel, the space of altarpieces is retranslated into three dimensions, which is thus a space of art | |
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| Comparison to Minimalist installations by Flavin and Morris | |
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| The work includes the beholder | |
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| In the thick of an ancient dispute over idolatry and iconoclasm | |
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| Both Fried and his opponents believed they were offering an answer to idolatry | |
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| The Medici Chapel as a post-pictorial reaction | |
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| Installation art and painting as phases of one another | |
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| Topographical instability Why Heiner | |
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| Friedrich found inspiration for the Dia Art Foundation in Giotto's Arena Chapel | |
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| What is a Christian chapel? | |
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| How Jerusalem can take place in Rome | |
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| Topographical destabilization reveals space and time to be malleable | |
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| Buildings on holy sites are not merely commemoration, but proof that these were never merely historical sites | |
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| Striated and smooth space | |
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| Premodern ecclesiastical environments are difficult to recover after the clean-up of the Reformation and the Counter-Reformation | |
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| Relics and their containers | |
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| Soil as a formless reliquary | |
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| How the Jerusalem Chapel went from being a spatio-temporal wrinkle to a sited space | |
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| Non-site-specificity | |
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| Smithson brings Franklin, New Jersey, to New York | |
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| Christian topographical reliquaries | |
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| "The distance between the Site and the Non-site could be called anti-travel" | |
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| "How can you be in two places at once when you are nowhere at all?": the art gallery as de-territorialized site | |
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| The Non-site as a tool for thinking about Christian chapels | |
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| Smithson applies the logic of the Non-site to the Holy Land and then withdraws from the idea | |
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| The Mannerist inhuman | |
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| Smithson on Worringer and Hulme | |
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| Mannerism crystallizes an alternative to anthropomorphism | |
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| Mannerist polyhedrons | |
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| Smithson on Brecht on Brueghel | |
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| "Cool" Smithson versus "hot" Smithson | |
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| Ice seething with activity | |
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| Smithson on Parmigianino | |
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| Sculpture in the expanded field placed in a theological framework | |
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| The year 1962: Mosaic resonance | |
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| Three medievalists-Eco, Steinberg, and McLuhan-intervene in contemporary culture | |
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| The Gutenberg Galaxy informs its readers that we are entering a new Middle Ages | |
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| Why mosaic is the modality of the electronic media | |
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| McLuhan photographed in "acoustic space" | |
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| The link between Bauhaus and McLuhan passes through medieval tactility? Photography as the medium of its own expansion | |
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| 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 | |
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| Joyce and the Summa of chaos | |
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| The embrace of chance and indeterminacy in the "open work" are connected to the search for a world-involving integration | |
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| Eco throws up barriers between the open work and medieval modalities of multiple reading, but they are dismantled by Battisti | |
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| Cage's Fontana Mix | |
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| Environments, flatbeds, and other forms of receivership | |
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| Kaprow announces that Pollock leaves us at the threshold of the Middle Ages | |
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| Steinberg on Johns as the "end of the line" | |
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| "Let the world in again" | |
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| Art before the easel picture is the unstated term in Steinberg's schema | |
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| Altarpieces as flatbeds | |
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| Why Caravaggio is Johns's historical alter ego | |
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| Inside and out | |
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| 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 | |
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| Ways of throwing this model into question | |
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| Prints offered a new plane for the circulation and reception of images, well before the gallery picture and the museum | |
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| Watteau makes a sign for the outside of the picture shop | |
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| Royal-sacred art sold and crated | |
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| The commodity is both object and phantasm | |
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| The old paintings prefigure their eventual use | |
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| Watteau's Enseigne and Johns's Flag | |
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| Limits of the diaphane | |
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| The index resurfaces in twentieth-century art | |
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| 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 | |
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| Camillo and painting as one phase of the distributed body | |
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| Pound explains Cavalcanti to the age of the lightbulb and the "current hidden in air and in wire" | |
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| The diaphane of Cavalcanti and Dante in Pound and Joyce | |
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| Duchamp's Large Glass as a diaphane | |
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| An element of medieval anachronism made Pound and Duchamp contemporary to each other in the 1920s | |
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| Relics and reproducibles And yet the boundary between index and icon is at issue in Christian art | |
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| Grounds of the religious image | |
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| The technological reproducibility of the icon | |
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| The revival of the idea of the multiple in modernism | |
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| Images as relic: another prototype of the work of art | |
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| The logic of the sample | |
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| Devotion and the abject | |
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| Consecration of the ordinary | |
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| Why the relic is not the same as the readymade and yet is necessary to understanding it | |
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| The afterlife of the relic in twentieth-century art | |
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| The readymade beyond institutional critique | |
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| Cathedral thinking The Gothic cathedral as Bauhaus emblem | |
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| Collective production and distributed display in the "new building of the future" | |
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| Behne and the return of art to the spiritual integration of the Middle Ages | |
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| Pervasiveness of spiritual rhetoric in avant-garde writings of the 1910s | |
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| Glass architecture | |
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| Feininger's fractal structures connect image, user, and environment | |
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| Instead of cathedrals, machines for living �Turn away from Utopia" | |
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| Worringer declares Expressionism dead | |
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| Behne: from Heiligenbild to Kunst to Gestaltung | |
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| El Lissitzky against the "painted coffin for our living bodies" | |
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| Stained glass and dynamic color construction | |
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| "The static god will become a dynamic god" | |
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| Pinder and medieval kinaesthetic proprioception | |
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| "What we used to call art begins at a distance of two meters from the body" | |
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| The medieval roots of Benjamin's concept of receptivity in a state of distraction | |
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| Cathedral of Erotic Suffering Schwitters from collage to Merzarchitektur | |
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| "Cathedrals are made out of wood" | |
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| "The absorption in art comes very close to the divine liturgy" | |
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| An archeology of display practices from a post-museum future | |
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| Neither museum nor cathedral but a dismantling of both | |
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| We are only now beginning to apply the lessons of the Merzbau | |
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| Conclusion The entropy of medievalism | |
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| Bibliographical sources | |
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| Illustration credits | |
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| Acknowledgments | |
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| Index | |