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This volume approaches the problem of the canonical “center” by looking at art and architecture on the borders of the medieval world, from China to Armenia, Sweden, and Spain. Seven contributors engage three distinct yet related problems: margins, frontiers, and cross-cultural encounters. While not displaying a unified methodology or privileging specific theoretical constructs, the essays emphasize how strategies of representation articulated ownership and identity within contested arenas. What is contested is both medieval (the material evidence itself) and modern (the scholarly traditions in which the evidence has or has not been embedded). An introduction by the editors places the essays within historiographic and pedagogical frameworks. Contributors: J. Caskey, K. Kogman-Appel, C. Maranci, J. Purtle, C. Robinson, N. Wicker and E.S.Wolper.

Art, Medieval --- Art and history. --- Historiography.

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Considers how photographic images of buildings reflect the passage of time through an exhibition held at the Princeton University Art Museum in 2011.

kunst --- fotografie --- architectuurfotografie --- tijd --- tijdelijkheid --- stadsfotografie --- fotografietheorie --- 77.01 --- 77.046 --- Architectural photography --- Time and art --- Art and history --- Buildings --- Edifices --- Halls --- Structures --- Architecture --- History and art --- History --- History in art --- Art and time --- Art --- Exhibitions --- Built environment

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Je n’ai foi que dans l’art et, sans lui, je suis perdu. Souvent, j’enferme des tableaux dans l’obscurité d’un container, durant de longues années. Que font les tableaux ainsi enfermés pendant tout ce temps, jusqu’au moment où ils se rappellent à mon souvenir en me faisant signe ? Rien ? Certainement pas, puisqu’ils ont su rassembler des forces pour attirer l’attention sur eux. Après avoir libéré la toile de l’obscurité, je la repeins et une transition s’opère vers un autre état. L’autodestruction a toujours été le but le plus intime, le plus sublime de l’art, dont la vanité devient alors perceptible. Quelle que soit la force de l’attaque, et quand bien même il sera parvenu à ses limites, l’art survivra à ses ruines. I have faith in art alone and without it I am lost. Often I shut paintings away in a dark storage space for many long years. What do paintings shut away in this manner do all that time until they give me a sign to remind me they exist? Nothing? Certainly not since they manage to muster enough strength to attract attention to themselves. After having freed a painting from the dark, I repaint it and a transition towards another state of being takes place. Self-destruction has always been the most intimate and sublime aim of art whose vanity thus becomes visible. However strong the attack and whatever its success in achieving its aims, art will survive its own ruin.

Art --- Aesthetics --- Art and history --- Visual Arts --- Art, Architecture & Applied Arts --- Visual Arts - General --- Philosophy --- History and art --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Analysis, interpretation, appreciation --- History --- History in art --- Criticism --- Literature --- Proportion --- Symmetry --- Art and philosophy --- Psychology --- Radio broadcasting Aesthetics --- art --- arts plastiques --- création artistique

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Si, à sa naissance en 1910, le Musée d'art et d'histoire de Genève possédait quelques objets orientaux, paléochrétiens et byzantins dans ses fonds, les collections prirent un véritable essor dans les années 1970. Durant cette décennie, le musée a acquis de splendides ensembles d'argenterie liturgique et domestique, des bronzes, des mosaïques ou des bijoux, ainsi que des objets de la vie quotidienne. Par la suite, d'autres oeuvres de prestige vinrent compléter ces collections représentatives d'une composante essentielle de la culture européenne. Bien que certaines pièces fussent présentées, ces dernières années, dans des expositions consacrées à Byzance, la plupart n'étaient cependant connues que par les visiteurs du musée. Il fallait donc les dévoiler au plus grand nombre. Tel est le but de ce beau livre qui vient à la suite d'un premier volume consacré aux icônes du Musée d'art et d'histoire de Genève, déjà publié par 5 Continents Editions.

Art, Byzantine --- Christian art and symbolism --- Geneva (Switzerland) --- Antiquities --- Geneva (Switzerland). --- Geneva. --- MAH-Genève --- Musée d'art et d'histoire de Genève --- Musée d'art et d'histoire (Geneva, Switzerland) --- Musée de Genève --- Musées d'art et d'histoire Genève. --- Museum of Art and History (Geneva, Switzerland) --- Genève (Switzerland) --- Genf (Switzerland) --- Ginevra (Switzerland) --- Jih-nei-wa (Switzerland) --- Ginebra (Switzerland) --- Cheneba (Switzerland) --- Geneua (Switzerland) --- Cenevre (Switzerland) --- Colonia Allobrogum (Switzerland) --- Antiquities. --- Musées d'art et d'histoire Genève --- Eaux-Vives (Switzerland) --- Geneva (Republic) --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Church decoration and ornament --- Byzantine art --- Art, Medieval --- Genevra (Switzerland) --- Symbolism in art --- Art, Byzantine - Switzerland - Geneva --- Christian art and symbolism - Switzerland - Geneva --- Geneva (Switzerland) - Antiquities