Cave and Worship in Ancient Greece brings together a series of stimulating chapters contributing to the archaeology and our modern understanding of the character and importance of cave sanctuaries in the fi rst millennium BCE Mediterranean. Written by emerging and established archaeologists and researchers, the book employs a fascinating and wide range of approaches and methodologies to investigate, and interpret material assemblages from cave shrines, many of which are introduced here for the fi rst time. An introductory section explores the emergence and growth of caves as centres of cult and religion. The chapters then probe some of the meanings attached to cave spaces and votive materials such as terracotta fi gurines, and ceramics, and those who created and used them. The authors use sensory and gender approaches, discuss the identity of the worshippers, and the contribution of statistical analysis to the role of votive materials. At the heart of the volume is the examination of cave materials excavated on the Cycladic islands and Crete, in Attika and Aitoloakarnania, on the Ionian islands and in southern Italy. This is a welcome volume for students of prehistoric and classical archaeology,enthusiasts of the history of caves, religion, ancient history, and anthropology.

Cave and Worship in Ancient Greece brings together a series of stimulating chapters contributing to the archaeology and our modern understanding of the character and importance of cave sanctuaries in the fi rst millennium BCE Mediterranean. Written by emerging and established archaeologists and researchers, the book employs a fascinating and wide range of approaches and methodologies to investigate, and interpret material assemblages from cave shrines, many of which are introduced here for the fi rst time. An introductory section explores the emergence and growth of caves as centres of cult and religion. The chapters then probe some of the meanings attached to cave spaces and votive materials such as terracotta fi gurines, and ceramics, and those who created and used them. The authors use sensory and gender approaches, discuss the identity of the worshippers, and the contribution of statistical analysis to the role of votive materials. At the heart of the volume is the examination of cave materials excavated on the Cycladic islands and Crete, in Attika and Aitoloakarnania, on the Ionian islands and in southern Italy. This is a welcome volume for students of prehistoric and classical archaeology,enthusiasts of the history of caves, religion, ancient history, and anthropology.

The studies in this volume focus on works of art that generate bafflement, and that make that difficulty of reading part of their rhetorical structure. These are works whose subjects are not easily identifiable or can be readily associated with more than one subject at the same time; works that take a subject into a new genre or format (pagan into Christian, for example, or vice versa), and thus destabilize the subject itself; works that concentrate on the marginal rather than the central episode; and works that introduce elements of the preparatory phase-the indeterminacy that are native to the sketch or drawing, for example-into the realm of finished works. Unable to settle on a single reading, the effort of interpretation doubles back on its own procedures. This aporia, according to Aristotle, serves as the initial impulse to philosophical inquiry. Although the works studied here are in many ways exceptional, the aporias they raise register larger structural problems belonging to the artistic culture as a whole. Between 1400 and 1700, we see the emergence of new formats, new genres, new subjects, and new techniques, as well as new venues for the display of art. It is an implicit thesis of this book that the systemic shifts occurring in the early modern period made the emergence of aporetic works of art, and of aporia as a problem for art, a structural inevitability.

This groundbreaking study explores the deep connections between modern and premodern art, offering a radical reading that reveals the underlying patterns and ideas traversing centuries of artistic practice. Nagel reconsiders from an innovative double perspective some key issues in the history of art, from iconoclasm and illusionism to the status of painting, installation, and the museum as institution. He examines, among other topics, why the medieval workshop was of such importance to the Bauhaus; how the 4th-century Jerusalem Chapel in Rome was a proto-earthwork akin to the projects of Robert Smithson; and the relationship between medieval relics and Duchamp's readymades. Alongside an analysis of 20th-century medievalist theorists such as Brecht, Joyce and Eco, Nagel considers a wide range of celebrated artists. This is a radical new reading of art that will profoundly broaden our understanding of both premodern practices and the art of the 20th and 21st centuries.

A reconsideration of the problem of time in the Renaissance, examining the complex and layered temporalities of Renaissance images and artifacts. In this widely anticipated book, two leading contemporary art historians offer a subtle and profound reconsideration of the problem of time in the Renaissance. Alexander Nagel and Christopher Wood examine the meanings, uses, and effects of chronologies, models of temporality, and notions of originality and repetition in Renaissance images and artifacts. Anachronic Renaissance reveals a web of paths traveled by works and artists-a landscape obscured by art history's disciplinary compulsion to anchor its data securely in time. The buildings, paintings, drawings, prints, sculptures, and medals discussed were shaped by concerns about authenticity, about reference to prestigious origins and precedents, and about the implications of transposition from one medium to another. Byzantine icons taken to be Early Christian antiquities, the acheiropoieton (or "image made without hands"), the activities of spoliation and citation, differing approaches to art restoration, legends about movable buildings, and forgeries and pastiches: all of these emerge as basic conceptual structures of Renaissance art. Although a work of art does bear witness to the moment of its fabrication, Nagel and Wood argue that it is equally important to understand its temporal instability: how it points away from that moment, backward to a remote ancestral origin, to a prior artifact or image, even to an origin outside of time, in divinity. This book is not the story about the Renaissance, nor is it just a story. It imagines the infrastructure of many possible stories.

In this volume, Alexander Nagel investigates the use of polychromy in the art and architecture of ancient Iran. Focusing on Persepolis, he explores the topic within the context of the modern historiography of Achaemenid art and the scientific investigation of a range of works and monuments in Iran and in museums around the world. Nagel's study contextualizes scholarly efforts to retrieve aspects of ancient polychromies in Western Asia and interrogates current debates about the contemporary use of color in the architecture and sculpture in the ancient Mediterranean world, especially in North Africa and the eastern Mediterranean. Bringing a multi-disciplinary perspective to the topic, Nagel also highlights the important role of theory, methodology, and conservation studies in the process of reconstructing polychromy in ancient monuments. A celebration of the work of painters, artisans, craftsmen and -women of Iran's past, his volume suggests frameworks through which historical and contemporary research play a dynamic role in the reconstruction of ancient technological knowledge.

The theory of pseudo-differential operators (which originated as singular integral operators) was largely influenced by its application to function theory in one complex variable and regularity properties of solutions of elliptic partial differential equations. Given here is an exposition of some new classes of pseudo-differential operators relevant to several complex variables and certain non-elliptic problems. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

The theory of pseudo-differential operators (which originated as singular integral operators) was largely influenced by its application to function theory in one complex variable and regularity properties of solutions of elliptic partial differential equations. Given here is an exposition of some new classes of pseudo-differential operators relevant to several complex variables and certain non-elliptic problems. Originally published in 1979. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

A global reconsideration and broadening of the definition of art conservation through the lenses of theory, ethics, culture, and history Thought-provoking and timely, this volume challenges inherited thinking on art conservation practice and purposefully reconsiders the definition of the field. Scholars from around the world discuss topics including the conservation of global painting practices, cold storage and digitization, conservation within institutions, and the decolonization of art conservation. The authors seek to broaden the scope of conservation practice and challenge the boundaries that set it apart from art history and art making. They thoughtfully consider the implications of conservation beyond museum walls. This volume in the esteemed Clark Studies in the Visual Arts maintains the series’s tradition of providing a nuanced reckoning with vital themes in the field. Distributed for the Clark Art Institute

A fresh and engaging look at the controversial work of Jeff Koons, with insightful analyses and illustrations of all of his iconic pieces alongside preparatory works and historical photographs Examining the breadth and depth of thirty-five years of work by Jeff Koons (b. 1955), one of the most influential and controversial artists of the 20th century, this highly anticipated volume features all of his most famous pieces. In an engaging overview essay, Scott Rothkopf carefully examines the evolution of Koons' work and his development over the past thirty-five years, offering a fresh scholarly perspective on the artist's multi-faceted career. In addition, short essays by a wide range of interdisciplinary contributors-from academics to novelists-probe provocative topics such as celebrity and media, markets and money, and technology and fabrication. Also included are preparatory sketches and plans for sculptures and paintings as well as installation photographs that shed light on Koons' artistic process and trace the development of his work throughout his landmark career. Koons has risen to international fame making art that reimagines and recontextualizes images and objects from popular culture such as vacuum cleaners, basketballs, and balloon animals. Created with painstaking attention to detail by a team of fabricators, these objects raise questions about taste and popular culture, and position Koons as one of the most lauded and criticized artists working today. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art (06/27/14-10/19/14) Centre Pompidou (11/26/14-04/27/15) Guggenheim Museum, Bilbao (06/05/15-09/27/15)