Iconoclash Beyond The Image Wars In Science Religion And Art

From late medieval reenactments of the Deposition from the Cross to Sol Lewitt’s “Buried Cube,” Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely — no truer to their first appearance than to their later reappearances. In Depositions, Amy Knight Powell makes the case that late medieval paintings and ritual reenactments of the Deposition from the Cross not only picture the deposition of Christ (the imago Dei) but also allegorize the deposition of the image as such and, in so doing, prefigure the lowering of “dead images” during the Protestant Reformation. Late medieval pre-figurations of Reformation iconoclasm anticipate, in turn, the repeated “deaths” of art since the advent of photography: that is the premise of the vignettes devoted to twentieth-century works of art that conclude each chapter of this book. In these vignettes, images that once stood in late medieval churches now find themselves among works of art from the more recent past with which they share certain formal characteristics. These surreal encounters compel us to reckon with affinities between images from different times and places. Turning on its head the pejorative (art-historical) use of the term pseudomorphosis — formal resemblance where there is no similarity of artistic intent — Powell explores what happens to our understanding of historically and conceptually distant works of art when they look alike.

From weaker to stronger rhetoric : literature - Laboratories - From weak points to strongholds : machines - Insiders out - From short to longer networks : tribunals of reason - Centres of calculation.

Artists and writers portray the disorientation of a world facing climate change. This monumental volume, drawn from a 2020 exhibition at the ZKM Center for Art and Media, portrays the disorientation of life in world facing climate change. It traces this disorientation to the disconnection between two different definitions of the land on which modernizing humans live: the sovereign nation from which they derive their rights, and another one, hidden, from which they gain their wealth—the land they live on, and the land they live from. Charting the land they will inhabit, they find not a globe, not the iconic “blue marble,” but a series of critical zones—patchy, heterogenous, discontinuous. With short pieces, longer essays, and more than 500 illustrations, the contributors explore the new landscape on which it may be possible for humans to land—what it means to be “on Earth,” whether the critical zone, the Gaia, or the terrestrial. They consider geopolitical conflicts and tools redesigned for the new “geopolitics of life forms.” The “thought exhibition” described in this book can opens a fictional space to explore the new climate regime; the rest of the story is unknown. Contributors include Dipesh Chakrabarty, Pierre Charbonnier, Emanuele Coccia, Vinciane Despret, Jerôme Gaillarde, Donna Haraway, Joseph Leo Koerner, Timothy Lenton, Richard Powers, Simon Schaffer, Isabelle Stengers, Bronislaw Szerszynski, Jan A. Zalasiewicz, Siegfried Zielinski Copublished with ZKM | Center for Art and Media Karlsruhe

This book argues that the extraordinary force of the image in contemporary life?the contemporary imaginary?can be traced back to the Byzantine iconoclastic controversy of the eighth and ninth centuries.

"Sacred gaze" denotes any way of seeing that invests its object—an image, a person, a time, a place—with spiritual significance. Drawing from many different fields, David Morgan investigates key aspects of vision and imagery in a variety of religious traditions. His lively, innovative book explores how viewers absorb and process religious imagery and how their experience contributes to the social, intellectual, and perceptual construction of reality. Ranging widely from thirteenth-century Japan and eighteenth-century Tibet to contemporary America, Thailand, and Africa, The Sacred Gaze discusses the religious functions of images and the tools viewers use to interpret them. Morgan questions how fear and disgust of images relate to one another and explains how scholars study the long and evolving histories of images as they pass from culture to culture. An intriguing strand of the narrative details how images have helped to shape popular conceptions of gender and masculinity. The opening chapter considers definitions of "visual culture" and how these relate to the traditional practice of art history. Amply illustrated with more than seventy images from diverse religious traditions, this masterful interdisciplinary study provides a comprehensive and accessible resource for everyone interested in how religious images and visual practice order space and time, communicate with the transcendent, and embody forms of communion with the divine. The Sacred Gaze is a vital introduction to the study of the visual culture of religions.