Byzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend.
Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.
Roland Betancourt, Ph.D. (2014), Yale University, is Assistant Professor of Art History at the University of California, Irvine. He has published articles and essays on the intersection of Byzantine art, liturgy, and image theory, as well as on contemporary media and visual culture. His work and methodology focus on both Byzantine and contemporary discourses on the ontological valences of the image and its temporality.
Maria Taroutina, Ph.D. (2013), Yale University, is Assistant Professor of Art History at Yale–NUS College in Singapore. She has published a number of articles and essays on the art and architecture of Imperial and early Soviet Russia and is currently working on the book,
From the Tessera to the Square: Russian Modernism and the Russo-Byzantine Revival.
"[This book] offer[s] a multi-disciplinary view of subjects as varied as historiography, art history, architecture, stage design, psychoanalytic thought and theology."
Joseph Masheck and Edmund Ryder,
Art and Christianity, No. 88, Winter 2016
Table of contents
List of Illustrations XV
List of Contributors XIX
Explanation of the Cover XXIII
Byzantium and Modernism
Introduction: Byzantium and Modernism 1
The Avant-Gardes and Their Counter Movements
1 Modernism’s Byzantium Byzantium’s Modernism 15
Robert S. Nelson
2 Kazimir Malevich and the Liturgical Tradition of Eastern
Myroslava M. Mudrak
3 Arts and Crafts and the ‘Byzantine’: The Greek Connection 75
4 Archaeology of Decadence: Uncovering Byzantium in Victorien
Sardou’s Theodora 102
Elena N. Boeck
Byzantine Tactics, Modernist Strategies in Architectural Discourse
5 Abstraction’s Economy: Hagia Sophia in the Imaginary of
Modern Architecture 135
6 Byzantine Architecture: A Moving Target? 163
The Slash as Method
Introduction: The Slash as Method 179
Reading across Time: Modern Subjects, Byzantine Objects
7 Byzantium and the Modernist Subject: The Case of Autobiographical
8 One Fish Two Fish Red Fish Blue Fish: Byzantine Visual Structures in
the Light of Twentieth-Century Practice and Theory 212
Byzantine New Media: The Photographic and Filmic Icon
9 Iconicity of the Photographic Image: Theodore of Stoudios and Andre
10 Tarkovsky: Embodying the Screen 254
Presence, Representation, and the Gaze: The Byzantine at the Ends
11 ‘Action-Paradise’ and ‘Readymade Reliquaries’: Eccentric Histories in/
of Recent Russian Art 271
Jane A. Sharp
12 Lacan and Byzantine Art: In the Beginning was the Image 311
13 Beyond Representation/The Gift of Sight 330
14 We Have Never been Byzantine: On Analogy 349
Select Bibliography 361
All interested in Byzantine, modern and contemporary art, and anyone concerned with image theory, historiography, and the philosophy of iconic representation.