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Transparent Things: A Cabinet
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For the art and literary historians gathered together in this volume (Angela Bennett Segler, Jennifer Borland, Karen Eileen Overbey, Nancy Thompson, and Maggie M. Williams), all students of medieval material, these tensions between surface and depth, present and past, concentration and skimming are all too familiar. The inherent contradictions of medieval objects, their irreducibility to either the purely intellectual or the merely physical, are at once the delights and the dangers of the art historian’s work. This book thus offeres a dialogue on the question of how our encounters with physical things spark a process and how objects might allow unique collisions between the past and the present, the human and the inanimate, the practice of history and lived experience. As works of medieval studies or art history, these essays are incomplete, awkward, and provisional. Some of them may even read like embarrassing teenage poetry. This collection is like that dusty box in the basement: it is full of raw, unedited, transparent expressions of affect, of the sort we have learned to hide.
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Keywords
- Art
- art history
- Art theory
- Art treatments & subjects
- Beach
- book history
- Exhibition catalogues & specific collections
- History Of Art / Art & Design Styles
- History of art: Byzantine & Medieval art c 500 CE to c 1400
- Medieval Architecture
- objects
- Ocean
- Photography
- The arts
- thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGC Exhibition catalogues and specific collections
Links
DOI: 10.21983/P3.0143.1.00Editions