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| 內容簡介： |
This groundbreaking study offers a radical new reading of art
來源：香港大書城megBookStore,http://www.megbook.com.hk
since the Middle Ages. Moving across the familiar period lines set
out in conventional histories, Alexander Nagel explores the deep
connections between modern and premodern art to reveal the
underlying patterns and ideas traversing centuries of artistic
practice.
In a series of episodic chapters, he reconsiders from an
innovative double perspective a number of key issues in the history
of art, from iconoclasm and idolatry to installation and the museum
as institution. He shows how the central tenets of modernism –
serial production, site-specificity, collage, the readymade, and
the questioning of the nature of art and authorship – were all
features of earlier times before modernity, revived by recent
generations.
Nagel examines, among other things, the importance of medieval
cathedrals to the 1920s Bauhaus movement, the parallels between
Renaissance altarpieces and modern preoccupations with surface and
structure; the relevance of Byzantine models to Minimalist artists;
the affinities between ancient holy sites and early earthworks; and
the similarities between the sacred relic and the modern readymade.
Alongside the work of leading 20th-century medievalist writes such
as Walter Benjamin, Marshall McLuhan, Leo Steinberg, and Duchamp,
Kurt Schwitters, Robert Smithson, and Damien Hirst.
The effect of these encounters goes in two directions at once:
each age offers new insights into the other, deepening our
understanding of both past and present, and providing a new set of
reference points that reframe the history of art itself.
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| 關於作者： |
Alexander Nagel is Professor Fine Arts at the
Institute of Fine Arts, New York University. He lectures and writes
widely on Renaissance and modern art, both for academic journals
and art magazines such as Cabinet, ARTNews and Artforum. His books
include Michelangelo and the Reform of Art winner of the 2002
Gordan Prize for Renaissance Studies, Anachronic Renaissance
co-authored with Christopher Wood and The Controversy of
Renaissance Art, winner of the Charles Rufus Morey Book
Award.
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