By Henry Maguire
During this interdisciplinary research, Henry Maguire examines the impression of a number of literary genres and rhetorical concepts at the visible arts of Byzantium. specifically, he exhibits that the literary gildings of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, kind, and association in their paintings. utilizing provocative fabric formerly unusual to paintings historians, he concentrates on spiritual paintings from a.d. 843 to 1453. during this interdisciplinary learn, Henry Maguire examines the influence of numerous literary genres and rhetorical options at the visible arts of Byzantium. specifically, he exhibits that the literary elaborations of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, sort, and association in their paintings. utilizing provocative fabric formerly surprising to artwork historians, he concentrates on spiritual artwork from a.d. 843 to 1453.
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48. Giorgio Agamben, The Coming Community, trans. Michael Hardt (Minneapolis: University of Minnesota Press, 1993), 9. 49. , 1. Norie Neumark 24 Part I Critical Perspectives on Distance Art/Activist Practices This part of the volume provides critical frameworks for understanding distance art and activist projects. The authors approach their material from the point of view of cultural theorists or historians rather than involved artists (although, as pointed out in the volume’s introduction, some of the authors are artists and were involved in some of the projects).
Norie Neumark 22 31. , 12. 32. Quoted in Tilman Baumgärtel, “Net Art: On the History of Artistic Work with Telecommunications Media,” in net_condition_art and global media, ed. : MIT Press, and Karlsruhe, Germany: ZKM Center for Art and Media, 2001), 155. 33. , Henry M. : MIT Press, 2001), esp. chap. 1. 34. ” Sayre notes that as early as 1966, Harold Rosenberg published a collection of essays, The Anxious Object (2). On the “side” of hegemonic Greenbergian modernism was Michael Fried’s inﬂuential “Art and Objecthood” (Artforum 5, June 1967), which advocated formalist “presentness” of self-sufﬁcient object, immanentist aesthetics (6–9).
For Fluxus, too, according to Smith, art’s important transformative power lay in the way it was a participatory social act. Smith also shows how artists explored the transformative interconnections among collectivity, art, creative production, and networks. As Braun too argues, what is important is the way each medium transforms experience. Thus distance art/ activism is about the process of transformation rather than the end result of transformation. It is, Braun foregrounds, about “radical transformations of everyday and familiar cultural relationships and problems” (76).
Art and Eloquence in Byzantium by Henry Maguire