L'Art Medieval Est-Il Contemporain?: Is Medieval Art Contemporary? (Reinterpreting the Middle Ages, 1)

Description

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 a Jan Dibbets" that was held at the Bibliotheque 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. Préface Au-delà des périodisations. Parcours passés et futurs potentiels. Nancy Thebaut 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 “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 V. Pentcheva Hollis Frampton, médiéval. Larisa Dryansky 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 Zoe Leonard’s Suitcases. Amy Knight Powell Liste des contributeurs