Our Beautiful, Dry, and Distant Texts examines art historical writing as an expressive medium, capable of emotion and reflection - and therefore deserving of serious consideration for its own sake, as the testament of art history and of individual historians. Elkins asks such questions as: How do various art historical approaches represent works of art? What can they see, and what must they miss? And what insight does such writing offer us about ourselves? Drawing on analyses of texts by Derrida, Deleuze and other leading critics, as well as illustrations of artworks from various cultures, Elkins constructs an eloquent plea for circumspection in the entire endeavour of trying to force images into words and in the curious vocation of writing the history of art.
Note: information on reaching me, on unpublished texts, etc., follows this bio.
*
James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer.
He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism.
His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).
Current projects include a series called the Stone Summer Theory Institutes, a book called The Project of Painting: 1900-2000, a series called Theories of Modernism and Postmodernism in the Visual Art, and a book written against Camera Lucida.
He married Margaret MacNamidhe in 1994 on Inishmore, one of the Aran Islands, off the West coast of Ireland. Margaret is also an art historian, with a specialty in Delacroix. Jim's interests include microscopy (with a Zeiss Nomarski differential interference microscope and Anoptral phase contrast), optics (he owns an ophthalmologist's slit-lamp microscope), stereo photography (with a Realist camera), playing piano, and (whenever possible) winter ocean diving.
*
Contact information:
Hi, most everything about me, including unpublished texts, is here:
www.jameselkins.com
That site also has a contact form:
http://www.jameselkins.com/#page6
And that website also has my travel calendar, in case you live outside the US:
http://www.jameselkins.com/#page4
(Amazon won't let people link their Google calendars to their profile page: don't know why.)
I'm also very active on Facebook. (Amazon doesn't have Facebook links: I don't know why.)
There are also pages for the visual studies reader I am working on:
http://visualreader.ning.com/
And I am active on Library Thing:
http://www.librarything.com/home/JimElkins
PS, I also have an Amazon "aStore," a special site for buying books:
http://astore.amazon.com/jameselkins
(Why doesn't Amazon let me link to that from here? Don't know.)
And last, I also have an Amazon Listmania! list:
http://www.amazon.com/lm/2ULLGW8L1NVW7
(Amazon doesn't have a way to link this page to that list either. What's up with Amazon?)
