L’art médiéval est-il contemporain ?
Is Medieval Art Contemporary?
Edited by Charlotte Denoël, Larisa Dryansky, Erik Verhagen, Isabelle Marchesin
ISBN 978-2-503-59973-1
More Info: https://bit.ly/3Kq5iBk
This publication brings together essays by scholars of both medieval and contemporary art, offering a cross-disciplinary approach of both periods. It investigates how contemporary artists and contemporary art historians perceive medieval art, and, reciprocally, how medieval art historians envisage the echoes of medieval artforms and esthetics in contemporary art. The volume follows on from the symposium organized in conjunction with the exhibition “Make it New: Carte Blanche à Jan Dibbets” that was held at the Bibliothèque Nationale de France (Paris) in 2019, and which presented side by side Hrabanus Maurus’s De Laudibus Sanctae Crucis (In Praise of the Holy Cross), a masterpiece of Carolingian art, with works by artists associated with conceptual art, mininimal art, and land art.
How and why has medieval art, and particularly early medieval art, inspired contemporary artists since the 1950s? What has medieval art contributed to contemporary art? How has medieval art’s treatment of figures, color, space, geometry, and rhythm provided inspiration for contemporary artists’ experiments with form? In what way does contemporary artists’ engagement with the topics of formatting, writing, semiosis, mimesis, and ornamentation draw inspiration from medieval models? To what extent and in what sense are the notions of authorship and performativity relevant for understanding conceptions of artmaking in both periods? Rather than focusing on medievalism and citational practices, or on the theory of images—both approaches having already produced an important body of comparative readings of medieval and contemporary art—the essays in this volume address the question of medieval art’s contemporaneity thematically, through three trans-chronological topics: authorship, semiosis and mathematics, and performance. Engaging the artists’ works as well as their writings, these studies conflate conceptual and esthetic perspectives.
TABLE OF CONTENTS
Préface
Charlotte Denoël, Larisa Dryansky, Isabelle Marchesin et Erik Verhagen
Partie 1. Introduction
Au-delà des périodisations : Parcours passés et futurs potentiels
Nancy Thebaut
Partie 2. Auctoritas/authorship
Qui était Jean Fouquet pour François Robertet ? Une question d’auctorialité dans l’art de la fin du Moyen Âge
Elliot Adam
L’artiste conceptuel à son pupitre
Valérie Mavridorakis
Art conceptuel et scolastique : le Chêne de Michael Craig-Martin est-il thomiste ?
Benjamin Riado
Partie 3. Signe et mathématiques
“All form is a process of notation”: Hrabanus Maurus’s “exemplativist” art
Aden Kumler’
Les nombres de la forme et les formes du nombre. Essai sur les carolingiens et l’abstraction.
Isabelle Marchesin
Abstraction in Medieval Art: The Chiasm in Hagia Sophia
Bissera Pentcheva
Hollis Frampton, médiéval
Larisa Dryansky
Partie 4. Performance
La conversion du précieux sang : Gina Pane et la mystique médiévale
Janig Bégoc
Automata, Kineticism, and Automation: An Oblique History of Animacy in the Art of the Long 1960s
Roland Betancourt
Coda
Zoe Leonard’s Suitcases
Amy Knight Powell
Liste des contributeurs
Published in the new book series
Reinterpreting the Middle Ages
From Medieval to Neo
Edited by Emma J. Wells and Claire KennanMore Info: https://www.brepols.net/series/NEO
Medieval Art Research 