Might the medieval reception of heads on pikes help us think through our own reactions to the display of a severed head of Hillary Clinton at a Trump rally?
“This is not your grandfather’s MAA,” Lisa Fagin Davis assured the crowd, to a smattering of applause and some laughter. Maybe not, but as a first-time attendee I was definitely struck by the peculiar coexistence of old and new, traditional and nontraditional, at this storied conference. The 91st Annual Meeting addressed this tension in several […]
Sometimes an apparently imminent death sparks a heightened interest in what, exactly, is being lost. A guest post from Kerr Houston.
Joy Partridge describes how the film “Flash in the Metropolitan” prompted her to become hypersensitive to the otherness of objects.
In ignoring the history, we ignore an important step in the process by which the tusk assumed its current form—and also deny the real possibility that aspects of the production of ivory could adhere to, or inform, the eventual processed material.
My visit to the Landy exhibit in the National Gallery was, like Asa’s, tinged with some disappointment, but it was also infused with enthusiasm, as was Karen’s.
What does abstraction mean to a medievalist? Swirling forms, rigid jewel patterns, inlaid rock crystals, and faux-marble painted panels populate medieval buildings, books and reliquaries.
Trees were in the New York air this spring—and not just in the form of pollen. City dwellers interested in things arboreal had any number of opportunities to indulge their passions.
I’m sure many people (especially art historians) may have had the feeling that a painting has haunted their life, but people tell me that my case may be exceptional.