Mostly Medieval:Images and Reflections

This post has been brewing for a while - since my Spring Break trip to Paris.  It springs from one of my visits to the Cluny during that trip, when I ended up in the Unicorn tapestries room. I've been in there before of course, if only because it is the only air-conditioned space in the museum.  My first month-long trip summer trip to Paris I took in July instead of June and it was hot (and a little smelly).  I was spending my afternoons in museums looking at Virgin and Child statues and most of the Cluny's are gathered in a gallery right next to the tapestries room, so I would duck in there to sit in the a.c. for a bit whenever I got just too uncomfortable.  On this most recent trip, in March, it was freezing cold and I got routed through the room because that space with the Virgins was briefly closed for some reason. And for some other reason I was struck by the panel above, sometimes labelled as the Lady and the Unicorn.  Struck not so much by its ima...

I loved my Kalamazoo paper for this year.  Just absolutely fucking LOVED it! Which is pretty amazing, since before I wrote it, I'd not written anything in months and was despairing a bit about my ability to write.  I was deep into this curriculum craziness that is going on at my university and was feeling more like a mid-level bureaucrat than a scholar or an intellectual or a writer or a person or...  You may have noticed that I've not even written here since February, when I try to write at least one post per month.  I have to dive back into all that craziness now, but I want to try and capture this feeling first (in fact I fell down the curriculum rabbit hole for about a week and am now coming back to finish this and try and recapture that feeling). On the one hand, the paper was a tight historical argument about the tombs of Henry Chichele (above) and Richard Fleming understood in the context of Lollard anti-image rhetoric and occasional acts of iconoclasm (...

I've loved these since I first saw them: Kate Clark's Ceremony on display at CSU gallery as part of Animatopoeia: A Most Peculiar (Post Modern) Bestiary, an exhibit curated by Art History major Omid Tavakoli ( here for the artist's website and here for the gallery's ).   Other people kept telling me they found these creatures creepy, but of course one of the things I love about sculpture in general is its creepiness .  And I didn't find these creepy at all, I thought they were so - Nice.  Gentle.  Kind.  Maybe it's the tilts of their heads, all off a bit to the side, as if in sympathy with their observers. Maybe its their skinny little legs, and hooves like pointed toes, that make them seem so delicate and their stances so precarious. Like this guy, I got up close to peer into their faces and try - but never succeed - in meeting their gazes.  Maybe that's what others read as creepiness, the way the creatures seem to draw you in to look, but...

This is the Adamas stone image that I mentioned in the note I added at the end of my previous post .   I've been thinking about it since in relationship to a discussion in my medieval art course earlier this fall. I taught that course differently this time around, structuring it around the essays in the Medieval Art History Today - Critical Terms volume that was published last spring as a special issue of Studies in Iconography .  In the first half of the semester, I alternated between lectures and discussions of the essays, and in the second half, I only lectured twice and we focused on discussions.  Before each discussion, the students were assigned to do a "reading report" in Blackboard, answering a set of questions about the reading and posing a question or two for our class discussion.  I was able to see these before class and use them to plan the class. One of the more interesting discussions we had was about Karl Whittington's essay on "Queer....

A pair of firestones, from a twelfth-century English Bestiary.  And the first interesting thing is simply the appearance of stones in a book about beasts: these are beastly stones, then, and so lively rocks.  And as living things, of course, they are gendered.  One category distinction, that between animate and inanimate, is refused and so that another, between male and female, can be extended.  Their gendering is crucial to the meaning that the bestiary text assigns to the stones.  Kept apart, male and female firestones are perfectly safe; but put together, they immediately burst into flame.  Just so its better to the keep male and female religious apart - and for male religious to keep away from women entirely - otherwise the flames of lust will be ignited. But.  What is curious to me about this and other images of firestones, is the way they downplay the distinction of gender.  Firestones may be male and female, but in these images t...

I've loved this since I first saw it: it's a late Roman sarcophagus with Dionysus, unfortunately now faceless, gloriously sprawling in the center, leaning on one of his followers, and Ariadne, splayed out, asleep at his feet.  She is going to wake up to HIM.  And since this is a sarcophagus, her sleep has to be read as death, and that awakening as a final one, to - as I always say to students when I teach it - an ecstatic erotic encounter with the god.  And so, suddenly, death doesn't seem so bad. Right now, though, I'm thinking about it a little bit differently.  Because I'm thinking about how sleep is different from death.  Because sleep, and waking from it, repeat - over and over and over again.  Day after day after day.  Where death happens once (and I don't know what if anything happens afterwards).   So as asleep, Ariadne isn't going to awake just once to her encounter with the god, but is going to do so daily, over and over and over aga...

This is one of my own photographs from my time in Paris that I've altered quite a bit, trying to get it to look something like the photographs by Eugene Atget that I saw at an exhibit at the Musée Carnavalet.  Its close, but not perfect. The Atgets were remarkable for the sense they gave of the historicity of the city - of its past as both distant and somehow present at the same time.   Of the city, then, as somehow haunted by its past.  Many of the sights he photographed no longer exist after a century or more of urban renewal projects.  And yet the Marais - the area right around the Carnavalet - escaped most of that and so looks more like Atget's Paris than much of the rest of the city.  So you can walk out of that museum and still see something like what you saw in his photographs inside.  The photographs were intended to document the old city even as it disappeared and so to capture it for the future.  But they are now visibly old too, sep...