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Art --- Religious studies --- Christian art and symbolism. --- Christianity and art. --- Image (Theology) --- Communication in art. --- Church history --- Art et symbolisme chrétiens --- Christianisme et art --- Image (Théologie) --- Communication dans l'art --- Eglise --- Histoire --- Communication --- Illuminated manuscripts of the Middle Ages. --- Religious aspects --- Christianity. --- 091.31:7.04 --- 7.046.3 --- 091 <44> --- 091 <41> --- Verluchte handschriften: iconografie --- Iconografie: religieuze voorstellingen --- Handschriftenkunde: bibliotheken, bibliotheconomie--Frankrijk --- Handschriftenkunde. Handschriftencatalogi--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- 091 <41> Handschriftenkunde. Handschriftencatalogi--Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland --- 7.046.3 Iconografie: religieuze voorstellingen --- 091.31:7.04 Verluchte handschriften: iconografie --- Communication. --- Image (Theology). --- Art et symbolisme chrétiens --- Image (Théologie) --- Christian art and symbolism --- Christianity and art --- Communication in art --- Illuminated manuscripts of the Middle Ages --- Communication, Primitive --- Mass communication --- Sociology --- Christianity --- Art and Christianity --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Church decoration and ornament --- Artistic communication --- Middle Ages, 600-1500 --- Symbolism in art --- Church history - Middle Ages, 600-1500
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Art --- History as a science --- destruction [process] --- lost works --- philosophy of art --- Medieval [European] --- anno 500-1499
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In her artistic practice, Andrea Büttner combines art history with social and ethical issues. Since the early 2000s, she has been exploring a wide range of themes such as work, poverty, shame and care in monastic forms of coexistence, but also arts and crafts as a political field. Examining the ambivalent tension between aesthetics and ethics, the internationally renowned artist uses various conceptual methods. Best known for her large-scale woodcuts, Büttner has since used a variety of media, including etching, painting, photography and video installations, glass art and textiles. For her publications and exhibitions, Büttner composes her works thematically to create site-specific installations that can be experienced as gradually unfolding narratives.
Büttner, Andrea, --- Büttner, Andrea --- Art --- conceptual artists --- site-specific works --- installation artists
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Abstraction haunts medieval art, both withdrawing figuration and suggesting elusive presence. How does it make or destroy meaning in the process? Does it suggest the failure of figuration, the faltering of iconography? Does medieval abstraction function because it is imperfect, incomplete, and uncorrected-and therefore cognitively, visually demanding? Is it, conversely, precisely about perfection? To what extent is the abstract predicated on theorization of the unrepresentable and imperceptible? Does medieval abstraction pit aesthetics against metaphysics, or does it enrich it, or frame it, or both? Essays in this collection explore these and other questions that coalesce around three broad themes: medieval abstraction as the untethering of image from what it purports to represent, abstraction as a vehicle for signification, and abstraction as a form of figuration. Contributors approach the concept of medieval abstraction from a multitude of perspectives-formal, semiotic, iconographic, material, phenomenological, epistemological.
Art --- abstraction --- ornaments [object genre] --- Medieval [European] --- anno 500-1499 --- Art, Medieval --- Art, Abstract --- Symbolism in art --- Abstract art --- Art, Non-objective --- Non-objective art --- Art, Modern --- Modernism (Art) --- Medieval art --- Allegory (Art) --- Signs and symbols in art --- Abstract, medieval, art, ornament, meaning.
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