From its inception in the early nineteenth century, the museum has been more than a mere historical object; it has manufactured an image of history. In collecting past artifacts, the museum gives shape and presence to history, defining the space of a ritual encounter with the past. The museum believes in history, yet it behaves as though history could be summarized and completed. By building a monument to the end of history and lifting art out of the turmoil of historical survival, the museum is said to dehistoricize the artwork. It replaces historicity with historiography, and living history...
From its inception in the early nineteenth century, the museum has been more than a mere historical object; it has manufactured an image of history. I...
What is a horizon? A line where land meets sky? The end of the world or the beginning of perception? In this brilliant, engaging, and stimulating history, Didier Maleuvre journeys to the outer reaches of human experience and explores philosophy, religion, and art to understand our struggle and fascination with limits--of life, knowledge, existence, and death. Maleuvre sweeps us through a vast cultural landscape, enabling us to experience each stopping place as the cusp of a limitless journey, whether he is discussing the works of Picasso, Gothic architecture, Beethoven, or General Relativity....
What is a horizon? A line where land meets sky? The end of the world or the beginning of perception? In this brilliant, engaging, and stimulating hist...
Didier Maleuvre argues that works of art in Western societies from Ancient Greece to the interconnected worlds of the Digital Age have served to rationalize and normalize an engagement with bourgeois civilization and the city.
Didier Maleuvre argues that works of art in Western societies from Ancient Greece to the interconnected worlds of the Digital Age have served to ratio...
