Bøker av James Elkins

A thoughtful, engaging and intimate history of art that offers a critical analysis of the assumptions on which the entire discipline of art history depends.Concise and original, this accessible second edition continues to act as an antidote to the behemoth art history textbooks of the past. Cultures have their own stories - about themselves, about other cultures - and to hear them all is one way to hear the multiple stories that art tells. James Elkins persuasively demonstrates there can never be one story of art now that art historians are concerned with gender, diversity, inclusiveness, and decolonization. Stories of Art is an interactive, iconoclastic text, encouraging readers to imagine how they would present art history in an age of multiple narratives. Elkins discusses decolonizing the discipline, representing race and ethnicity, Eurocentrism, postnationalism, and indigenous voices while examining histories of art written in China, Persia, Turkey, and India. This new edition features QR codes to 27 short videos that introduce challenging ideas about art and history in a clear and open way, encouraging active reading, and including ideas for writing exercises and class conversations.A must read for students and scholars interested in exploring the cultural function of art history.

In this innovative, interdisciplinary 1998 study, James Elkins argues against the assumption that images can be adequately described in words. In his view, words must always fail because pictures possess a residue of 'meaningless' marks that cannot be apprehended as signs.

Six Stories is a radically new look at the intersection of science and art through "failed" images.

Elkins's intimate history of art demonstrates persuasively that there can never be one story of art. The story of art is the story of different cultures, and our own different experiences of art - perspectives that art history usually ignores.

In the domain of visual images, those of fine art form a tiny minority. This original and brilliant book calls upon art historians to look beyond their traditional subjects-painting, drawing, photography, and printmaking-to the vast array of "nonart"...

This book is about the curious disconnection between spirituality and current art.

Examining the rival theories of modernism and postmodernism, and including a survey of ideas about the relation of modern art to skill and politics, this is the first book to gather the principal authors and theories of twentieth-century art history

James Elkins tells the story of paintings that have made people cry. Drawing upon anecdotes related to individual works of art, he provides a chronicle of how people have shown emotion before works of art

James Elkins offers a road map through the field of visual studies, describing its major concerns and its principal theoretical sources.

Perspective has been a divided subject, orphaned among various disciplines from philosophy to gardening. In the first book to bring together recent thinking on perspective from such fields as art history, literary theory, aesthetics, psychology, and the history of mathematics, James Elkins leads us to a new understanding of how we talk about...

How do psychoanalytic, semiotic, deconstructive, and other interpretations represent works of art? The author suggests in this book that the philosophic problems posed by this question and others are insuperable. He argues that art history as writing must be taken seriously for its own sake.

In this pamphlet, James Elkins surveys the last fifty years of art criticism, proposing some interesting explanations for the changes in writing about art, from passionate to academic.

Drawing on analyses of texts by Derrida, Deleuze and other leading critics, as well as illustrations of artworks from various cultures, this book examines art historical writing as an expressive medium, capable of emotion and reflection.

Examines the curious endeavor to teach the unteachable that is generally known as college-level art instruction. This book traces the development (or invention) of the modern art school and considers how issues such as the question of core curriculum and the intellectual isolation of art schools affect the teaching and learning of art.