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Profile: James Elkins (School of the Art Institute of Chicago)
  1. What Does Peirce's Sign System Have to Say to Art History?James Elkins - 2003 - 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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  2. Whitney Davis's General Theory of Visual Culture. [REVIEW]James Elkins - 2012 - 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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  3.  16
    Marks, Traces, "Traits," Contours, "Orli," and "Splendores": Nonsemiotic Elements in Pictures.James Elkins - 1995 - Critical Inquiry 21 (4):822-860.
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  4.  47
    From Original to Copy and Back Again.James Elkins - 1993 - British Journal of Aesthetics 33 (2):113-120.
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  5.  9
    On Pictures and the Words That Fail Them.James Elkins - 1999 - Journal of Aesthetics and Art Criticism 57 (4):471-473.
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  6. Pictures of the Body Pain and Metamorphosis.James Elkins - 1999
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  7. The Poetics of Perspective.James Elkins - 1994
     
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  8.  17
    Four Ways of Measuring the Distance Between Alchemy and Contemporary Art.James Elkins - 2003 - 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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  9.  6
    The Snap of Rhetoric: A Catechism for Art History.James Elkins - 1992 - Substance 21 (2):3.
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  10.  33
    Book Review: The Poetics of Perspective. [REVIEW]James Elkins - 1995 - Philosophy and Literature 19 (2).
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  11.  10
    Art School Critiques as Seductions.James Elkins - 1992 - Journal of Aesthetic Education 26 (1):105-107.
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  12.  9
    A Thought Experiment, for a Book to Be Called" Failure in Twentieth-Century Art".James Elkins - forthcoming - Journal of Aesthetic Education.
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  13.  20
    Did Leonardo Develop a Theory of Curvilinear Perspective?: Together with Some Remarks on the 'Angle' and 'Distance' Axioms.James Elkins - 1988 - Journal of the Warburg and Courtauld Institutes 51:190-196.
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  14.  21
    Logic and Images in Art History.James Elkins - 1999 - 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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  15.  15
    Theoretical Remarks on Combined Creative and Scholarly Phd Degrees in the Visual Arts.James Elkins - 2004 - Journal of Aesthetic Education 38 (4):22-31.
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  16.  6
    What Do We Want Pictures to Be? Reply to Mieke Bal.James Elkins - 1996 - Critical Inquiry 22 (3):590-602.
  17.  5
    Critical Response: What Do We Want Photography to Be? A Response to Michael Fried.James Elkins - 2005 - Critical Inquiry 31 (4):938-956.
  18.  4
    Picturing Science, Producing Art by Caroline A. Jones; Peter Galison. [REVIEW]James Elkins - 2000 - Isis: A Journal of the History of Science 91:318-319.
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  19.  5
    On Monstrously Ambiguous Paintings.James Elkins - 1993 - 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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  20.  3
    Renaissance Perspectives.James Elkins - 1992 - Journal of the History of Ideas 53 (2):209-230.
  21.  7
    The "Fundamental Concepts" of Pictures.James Elkins - 1992 - Journal of Speculative Philosophy 6 (2):143 - 151.
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  22.  2
    Ten Reasons Why E. H. Gombrich is Not Connected to Art History.James Elkins - 2009 - Human Affairs 19 (3).
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  23.  1
    Art History Without Theory.James Elkins - 1988 - Critical Inquiry 14 (2):354-378.
    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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  24. Aesthetics and the Two Cultures : Why Art and Science Should Be Allowed to Go Their Separate Ways.James Elkins - 2009 - 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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  25. Beyond the Aesthetic and the Anti-Aesthetic.James Elkins & Harper Montgomery (eds.) - 2013 - Pennsylvania State University Press.
    Each of the five volumes in the Stone Art Theory Institutes series—and the seminars on which they are based—brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fourth volume in the series, _Beyond the Aesthetic and the Anti-Aesthetic_, focuses on questions revolving around the concepts of the aesthetic, the anti-aesthetic, and the political. (...)
     
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  26. Different Horizons for the Concept of the Image.James Elkins - 1998 - Zeitschrift für Ästhetik Und Allgemeine Kunstwissenschaft 43 (1):29-46.
     
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  27. From Original To Copy And Back Again.James Elkins - 1993 - British Journal of Aesthetics 33 (2):113-120.
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  28. James Elkins.James Elkins - 2007 - In Diarmuid Costello & Jonathan Vickery (eds.), Art: Key Contemporary Thinkers. Berg. pp. 63.
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  29. Lawyer Ethics: A Pedagogical Mosaic.James Elkins - 2000 - Notre Dame Journal of Law, Ethics and Public Policy 14 (1):117-122.
     
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  30. Our Beautiful, Dry, and Distant Texts: Art History as Writing.James Elkins - 1997 - Pennsylvania State University Press.
    How do psychoanalytic, semiotic, deconstructive, and other interpretations represent works of art? What can they see, and what must they miss? In _Our Beautiful, Dry, and Distant Texts_, Elkins suggests that the philosophic problems posed by these questions are essentially insuperable because philosophy makes demands of visual artifacts that they can answer only by becoming mirror images of philosophic discourse. Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the transmission of (...)
     
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  31. Precision, Misprecision, Misprision.James Elkins - 1998 - Critical Inquiry 25 (1):169-180.
  32.  71
    Six Stories From the End of Representation: Images in Painting, Photography, Astronomy, Microscopy, Particle Physics, and Quantum Mechanics, 1980-2000.James Elkins - 2008 - 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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  33. The Art Seminar: Photography Theory.James Elkins (ed.) - 2006 - Routledge.
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  34. What Happened to Art Criticism?James Elkins & Raphael Rubinstein - 2009 - Journal of Aesthetics and Art Criticism 67 (2):245-247.
     
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  35.  37
    What is an Image?James Elkins & Maja Naef (eds.) - 2011 - 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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