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From late medieval reenactments of the Deposition from the Cross to Sol Lewitt's Buried Cube, Depositions is about taking down images and about images that anticipate being taken down. Foretelling their own depositions, as well as their re-elevations in contexts far from those in which they were made, the images studied in this book reveal themselves to be untimely--no truer to their first appearance than to their reappearances.
In Depositions, Amy Powell makes the case that late medieval paintings and ritual reenactments of the Deposition from the Cross not only picture the deposition of Christ (the Imago Dei) but also allegorize the deposition of the image as such and, in so doing, prefigure the lowering of "dead images" during the Protestant Reformation. Late medieval pre-figurations of Reformation iconoclasm anticipate, in turn, the repeated "deaths" of art since the advent of photography: that is the premise of the vignettes devoted to twentieth-century works of art that conclude each chapter of this book.
In these vignettes, images that once stood in late medieval churches now find themselves among works of art from the more recent past with which they share certain formal characteristics. These surreal encounters compel us to reckon with affinities between images from different times and places. Turning pseudomorphosis--formal resemblance where there is no similarity of artistic intent -- on its head, Powell explores what happens to our understanding of historically and conceptually distant works of art when they turn out to look alike.
- Sales Rank: #1448911 in Books
- Published on: 2012-03-09
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 1.35" w x 6.00" l, 1.62 pounds
- Binding: Hardcover
- 376 pages
Review
"Powell's Depositions has the capacity to change the terms of debate in art history in fundamental and necessary ways." -- Caroline Walker Bynum, Common Knowledge
From the Back Cover
"Amy Powell explores a Renaissance icon through the prism of later adaptations. Rogier van der Weyden's Deposition�is itself the icon of afterwards: the Crucifixion has taken place and mourners receive Christ's corpse. In a courageous mix of history and criticism, Powell makes that deferred action reverberate in an art historical future that includes contemporary art. Through controlled anachronism, she takes us deep into the uncanny timeframe of visual images, where everything is d�j� vu."�--Joseph Leo Koerner, Harvard University
Most helpful customer reviews
8 of 8 people found the following review helpful.
Excellent Book!
By Blinky P
Zone books always have fantastic covers, and this one is no exception. What's between the covers here is also pretty great. The comparisons this book makes are a trip. They ask you to look at things from an unusual angle and to see across time. And the theoretical claim that underlies the comparisons--the claim that accidental or "pseudomorphic" resemblance, however deceptive, is not simply false--is laid out very well in the beginning of the book. Insofar as they can be taken down ("deposed") images are not context-bound in quite the way the enemies of "pseudomorphism"--most art historians--say. And pictures of the deposition are about this essential property of images. That's more or less the argument. It's all really interesting, and well done. And strange, in a good way. I haven't come across another book quite like this one.
5 of 23 people found the following review helpful.
Great topic, handsome book, but disappointing contents
By Orson Welles
I was excited to to see this boo in the MIT catalogue and pre-ordered it. As is usual for Zone books, this one is lavishly illustrated and looks great. I expected some discussion of the relation between medieval paintings of the deposition of Christ and the deposing, or taking down of painting form museums. The book is a tenure book, and so is largely a boring and unoriginal discussion of desposition scenes, however. If you like unimaginative art historical books written to get tenure, this book is for you.
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