Disfiguring : art, architecture, religion / Mark C. Taylor.
By: Taylor, Mark C
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BR 115 .A8 T39 1992 (Browse shelf (Opens below)) | Available | 100000007349 |
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BR 115 .A8 S35 2002 Spirit and Beauty : An Introduction to Theological Aesthetics | BR 115 .A8 S45 1995 The Sense of the Sacramental : Movement and Measure in Art and Music, Place and Time | BR 115 .A8 S54 P48 2004 Signs of change : Transformations of Christian traditions and their representation in the arts, 1000-2000 | BR 115 .A8 T39 1992 Disfiguring : art, architecture, religion / | BR 115 .A8 T73 2004 Tradition chrétienne et créativité artistique : Quand les arts stimulent le dialogue oecuménique | BR 115 .A8 W54 G73 2005 Grace and Necessity : Reflections on Art and Love | BR 115 .A83 D82 C59 1962 La civilisation et l'atome |
Includes bibliographical references (p. 321-340) and index.
Program -- Theoesthetics -- Iconoclasm -- Purity -- Currency -- Logo centrism -- Refuse -- Desertion -- A/theoesthetics.
Disfiguring is the first sustained interpretation of the deep but often hidden links among twentieth-century art, architecture, and religion. While many of the greatest modern painters and architects have insisted on the spiritual significance of their work, historians of modern art and architecture have largely avoided questions of religion. Likewise, contemporary philosophers and theologians have, for the most part, ignored the visual arts. Taylor presents a carefully. Structured and subtly nuanced analysis of the religious presuppositions that inform recent artistic theory and practice - and, in so doing, recasts the cultural landscape of our era. For Taylor, twentieth-century art and architecture fall into three epochs: modernism and two contrasting views of postmodernism. He shows how we can understand these epochs through multiple senses of "disfiguring." While abstract painting and high modern architecture disfigure, in the sense. Of removing designs, symbols, and ornaments, pop art and postmodern architecture disfigure this austere purity with playful images. Taylor uncovers a more profound kind of disfiguring in the subversive postmodernism of "deconstructive" architects such as Peter Eisenman and painters such as Anselm Kiefer. These artists attempt to figure the unfigurable, Taylor argues, and so create the possibility of refiguring the sacred for our postmodern age. Taylor's larger purpose in. Disfiguring is constructive or, perhaps more accurately, reconstructive. By exploring the religious dimensions of twentieth-century painting and architecture, he shows how the visual arts continue to serve as a rich resource for the theological imagination.
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