By Kate. EZRA
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Additional resources for Art of the Dogon: Metropolitan Museum of Art
6 Maritain’s perspective underwent a critical temporal shift from a longing for the integralism of medieval times to a future-oriented project that expressed decidedly off-modern convictions. 9 Each of these tropes exemplifies “a vision of the world as a dialectical composite of two interpenetrating planes of reality: seen and unseen, created and uncreated, natural and supernatural. As such, they offer an alternative way of imagining relationships. Two entities—God and world, divinity and reality, even .
They are also distinctive in their focus on museums not solely as representational economies but as institutions populated by people who are themselves engaged in critical analysis of their own practices, procedures, and institutional trajectories. Among these examples, the museums under scrutiny range in their purviews from science and technology to ethnography and history. That there has been little work of this sort on art museums might seem odd, given that critical experimentation has hardly been absent in their precincts.
Thomas Aquinas that would establish a philosophical underpinning for the contemporary transfiguration of faith. But for all of Maritain’s off-modern attention to temporality, his commitment to Aquinas was essentially ahistorical. Congar’s hermeneutics called for a different approach to St. indb 41 10/14/10 12:18:13 PM S AC R E D MODERN required instead a return to the source, and in a manner that considered the historical context within which Aquinas wrote, “in order to put his thought in a period, since everything is historical—absolutely everything, including the Bible and Jesus” (Congar 1988, 73).
Art of the Dogon: Metropolitan Museum of Art by Kate. EZRA