Judith

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Pelikan, Jaroslav; Judith HerrinBiblio.com

Imago Dei : the Byzantine Apologia for Icons

2011réf. 94805Princeton University Press. New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 220 pages; 53 illustrations one in color. -- with a bonus offer--; A. W. Mellon Lectures in the Fine Arts; In 726 the Byzantine emperor Leo III issued an edict that all religious images in the empire were to be destroyed a directive that was later endorsed by a synod of the Church in 753 under his son Constantine V. If the policy of Iconoclasm had succeeded the entire history of Christian art--and of the Christian church at least in the East--would have been altered. Iconoclasm was defeated--by Byzantine politics by popular revolts by monastic piety and most fundamentally of all by theology just as it had been theology that the opponents of images had used to justify their actions. Analyzing an intriguing chapter in the history of ideas the renowned scholar Jaroslav Pelikan shows how a faith that began by attacking the worship of images ended first in permitting and then in commanding it. Pelikan charts the theological defense of icons during the Iconoclastic controversies of the eighth and ninth centuries whose high point came in A.D. 787 when the Second Council of Nicaea restored the cult of images in the church. He demonstrates how the dogmas of the Trinity and the Incarnation eventually provided the basic rationale for images: because the invisible God had become human and therefore personally visible in Jesus Christ it became permissible to make images of that Image. And because not only the human nature of Christ but that of his Mother had been transformed by the Incarnation she too could be "iconized" together with all the other saints and angels. The iconographic "text" of the book is provided by one of the very few surviving icons from the period before Iconoclasm the Egyptian tapestry Icon of the Virgin now in the Cleveland Museum of Art. Other icons serve to illustrate the theological argument just as the theological argument serves to explain the icons. In a new foreword Judith Herrin discusses the enduring importance of the book provides a brief biography of Pelikan and discusses how later scholars have built on his work. . 2011. 0691141258 . Princeton University Press paperback

AB Books · États-Unis1 976,00 $US≈ 1 765,39 €

Rodenbeck, Judith F ; Allan KaprowBiblio.com

Radical Prototypes : Allan Kaprow and the Invention of Happenings

2011réf. 96280The MIT Press. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- 310 pp. ; 47 illus. -- with a bonus offer--; "Happenings" have pop connotations that conjure up 1960s youth culture and hippies in public joyful rebellion. Scholars meanwhile locate happenings in a genealogy of avant-garde performance that descends from futurism surrealism and Dada through the action painting of the 1950s. In Radical Prototypes Judith Rodenbeck argues for a more complex etiology. Allan Kaprow coined the term in 1958 to name a new collage form of performance calling happenings "radical prototypes" of performance art. Rodenbeck offers a rigorous art historical reading of Kaprow's project and related artworks. She finds that these experiential and experimental works offered not a happy communalism but a strong and canny critique of contemporary sociality. Happenings she argues were far more ambivalent negative and even creepy than they have been portrayed either in contemporaneous accounts or in more recent efforts to connect them to contemporary art's participatory strategies. In Radical Prototypes Rodenbeck recovers the critical force of happenings addressing them both as theoretical objects and as artworks investigating broader epistemological and formal concerns as well as their material and performative aspects. She links happenings to scores by John Cage especially 4'33" avant-garde theater and photography and offers new readings of projects ranging from Kaprow's 18 Happenings in 6 Parts 1959 to Gerhard Richter's Leben mit Pop 1963. Rodenbeck casts happenings as a form of participatory art that simultaneously delivers a radical critique of that very participation--a view that revises our understanding of contemporary constructions of the participatory as well as of 1960s projects from Fluxus to conceptual art. . 2011. 0262016206 . The MIT Press hardcover

AB Books · États-Unis1 976,00 $US≈ 1 765,39 €

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