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Profile: James Elkins (School of the Art Institute of Chicago)
  1. James Elkins (forthcoming). A Thought Experiment, for a Book to Be Called" Failure in Twentieth-Century Art". Journal of Aesthetic Education.
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  2. James Elkins (forthcoming). The Snap of Rhetoric: A Catechism for Art History. Substance.
     
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  3. James Elkins & Harper Montgomery (eds.) (2013). Beyond the Aesthetic and the Anti-Aesthetic. Penn State University Press.
     
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  4. James Elkins (2012). Whitney Davis's General Theory of Visual Culture. [REVIEW] College Art Association Books Reviews.
    This is a brief essay on Whitney Davis's book. A shorter version, edited down by the College Art Association, is on their online book reviews site (protected by a paywall).
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  5. James Elkins & Maja Naef (eds.) (2011). What is an Image? Pennsylvania State University Press.
    Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
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  6. James Elkins (2009). Aesthetics and the Two Cultures : Why Art and Science Should Be Allowed to Go Their Separate Ways. In Francis Halsall, Julia Jansen & Tony O'Connor (eds.), Rediscovering Aesthetics: Transdisciplinary Voices From Art History, Philosophy, and Art Practice. Stanford University Press.
     
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  7. James Elkins (2009). Ten Reasons Why E. H. Gombrich is Not Connected to Art History. Human Affairs 19 (3).
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  8. James Elkins & Raphael Rubinstein (2009). What Happened to Art Criticism? Journal of Aesthetics and Art Criticism 67 (2):245-247.
     
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  9. James Elkins (2008). Six Stories From the End of Representation: Images in Painting, Photography, Astronomy, Microscopy, Particle Physics, and Quantum Mechanics, 1980-2000. Stanford University Press.
    James Elkins has shaped the discussion about how we—as artists, as art historians, or as outsiders—view art. He has not only revolutionized our thinking about the purpose of teaching art, but has also blazed trails in creating a means of communication between scientists, artists, and humanities scholars. In Six Stories from the End of Representation , Elkins weaves stories about recent images from painting, photography, physics, astrophysics, and microscopy. These images, regardless of origin, all fail as representations: they are blurry, (...)
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  10. James Elkins (2007). James Elkins. In Diarmuid Costello & Jonathan Vickery (eds.), Art: Key Contemporary Thinkers. Berg. 63.
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  11. James Elkins (ed.) (2006). The Art Seminar: Photography Theory. Routledge.
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  12. James Elkins (2005). Critical Response: What Do We Want Photography to Be? A Response to Michael Fried. Critical Inquiry 31 (4):938-956.
  13. James Elkins (2004). Theoretical Remarks on Combined Creative and Scholarly Phd Degrees in the Visual Arts. Journal of Aesthetic Education 38 (4):22-31.
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  14. James Elkins (2003). Four Ways of Measuring the Distance Between Alchemy and Contemporary Art. Hyle 9 (1):105 - 118.
    Alchemy has always had its ferocious defenders, and a small minority of artists remain interested in alchemical meanings and substances. In this essay I will suggest two reasons why alchemy is marginal to current visual art, and two more reasons why alchemical thinking remains absolutely central. Briefly: alchemy is irrelevant because (1) it is has been a minority interest from early modernism to the present, and therefore (2) it is outside the principal conversations about modernism and postmodernism; but alchemy is (...)
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  15. James Elkins (2003). What Does Peirce's Sign System Have to Say to Art History? Culture, Theory, and Critique 44 (1):5-22.
    Peirce is far too strange for the uses to which he is put in art history. This is a plea to art historians for a moratorium on Peirce citations.
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  16. James Elkins (2000). Lawyer Ethics: A Pedagogical Mosaic. Notre Dame Journal of Law, Ethics and Public Policy 14 (1):117-122.
     
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  17. James Elkins (2000). Picturing Science, Producing Art by Caroline A. Jones; Peter Galison. [REVIEW] Isis: A Journal of the History of Science 91:318-319.
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  18. James Elkins (1999). Logic and Images in Art History. Perspectives on Science 7 (2):151-180.
    : This essay is an attempt to see how some of Galison's ideas and analyses look from the vantage of art history. If there's to be dialogue between the history of science and the history of art, it will be necessary to find historically recognizable senses for words like "logic" and "homologous." I also propose how Galison's kinds of images might fit into larger classifications of images known to the history of art.
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  19. James Elkins (1999). On Pictures and the Words That Fail Them. Journal of Aesthetics and Art Criticism 57 (4):471-473.
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  20. James Elkins (1999). Pictures of the Body Pain and Metamorphosis. Monograph Collection (Matt - Pseudo).
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  21. James Elkins (1998). Different Horizons for the Concept of the Image. Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 43 (1):29-46.
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  22. James Elkins (1998). Precision, Misprecision, Misprision. Critical Inquiry 25 (1):169.
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  23. James Elkins (1997). Our Beautiful, Dry, and Distant Texts: Art History as Writing. Penn State University Press.
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  24. James Elkins (1996). What Do We Want Pictures to Be? Reply to Mieke Bal. Critical Inquiry 22 (3):590.
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  25. James Elkins (1995). Book Review: The Poetics of Perspective. [REVIEW] Philosophy and Literature 19 (2).
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  26. James Elkins (1995). Marks, Traces, "Traits," Contours, "Orli," and "Splendores": Nonsemiotic Elements in Pictures. Critical Inquiry 21 (4):822.
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  27. James Elkins (1994). The Poetics of Perspective. Monograph Collection (Matt - Pseudo).
     
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  28. James Elkins (1993). From Original to Copy and Back Again. British Journal of Aesthetics 33 (2):113-120.
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  29. James Elkins (1993). On Monstrously Ambiguous Paintings. History and Theory 32 (3):227-247.
    Certain artworks appear to have multiple meanings that are also contradictory. In some instances they have attracted so much attention that they are effectively out of the reach of individual monographs. These artworks are monstrous.One reason paintings may become monstrous is that they make unexpected use of ambiguation. Modern and postmodern works of all sorts are understood to be potentially ambiguous ab ovo, but earlier--Renaissance and Baroque--works were constrained to declare relatively stable primary meanings. An older work may have many (...)
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  30. James Elkins (1992). Art School Critiques as Seductions. Journal of Aesthetic Education 26 (1):105-107.
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  31. James Elkins (1992). Renaissance Perspectives. Journal of the History of Ideas 53:209-230.
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  32. James Elkins (1992). The "Fundamental Concepts" of Pictures. Journal of Speculative Philosophy 6 (2):143 - 151.
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  33. James Elkins (1988). Art History Without Theory. Critical Inquiry 14 (2):354.
    The theories I have outlined suggest that by displacing but not excluding theory, art historical practice at once grounds itself in empiricism and implies an acceptance of theory’s claim that it cannot be so grounded. But beyond descriptions like this, the theories are not a helpful way to understand practice because they cannot account for its persistence except by pointing to its transgressions and entanglements in self-contradiction. Nor does it help to say, pace Steven Knapp, Walter Benn Michaels, and Stanley (...)
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  34. James Elkins (1988). Did Leonardo Develop a Theory of Curvilinear Perspective?: Together with Some Remarks on the 'Angle' and 'Distance' Axioms. Journal of the Warburg and Courtauld Institutes 51:190-196.
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