Curriculum Vitae

School of the Art Institute of Chicago, Art History, Theory, and Criticism, Faculty Member
James Elkins Vita This document should be viewed onscreen to enable links and bookmarks. If you are reading a pdf, for example on academia.edu, please see the live (continuously updated) vita on ​Google drive​. To find translations, search the words Catalan, Chinese, Czech, Danish, Estonian, Farsi, Finnish, French, German, Italian, Korean, Portuguese, Russian, Slovak, Slovenian, Spanish, Swedish, Turkish, Yoruba. Further reviews and online interviews are listed on W ​ ikipedia​. Print interviews are b ​ elow​. Citation statistics and some sources that aren’t in this vita are on the ​Google scholar page.​ For works in progress see t​ his page​. Several hundred book reviews are on ​Goodreads​ and ​LibraryThing​. Music reviews are on P ​ iano Notes​. Most recent writing is not on this vita because I usually post online, either on A ​ cademia,​ on ​Facebook,​ or on one of the ​live writing projects​ that are being written online. A calendar of upcoming lectures is ​here​, and a map of all my travels is on the Facebook app TravelBrain.​ Country count = 75. Please send all correspondence through the ​website.​ Brief bio James Elkins is E.C. Chadbourne Professor in the Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago. His most recent book is ​What Photography Is​. He writes on art and non-art images; recent books include​ ​Chinese Landscape Painting as Western Art History​ (​ Hong Kong University Press)​ ​and​ ​Art Critiques: A Guide​ (​ New Academia)​.​ In October 2015 he will stop writing monographs in order to concentrate on an ​experimental writing project that is not related to art​. Personal Born: 10/13/55, Ithaca, New York Marital Status: Married (Margaret MacNamidhe) Citizenship: USA Contact information Department of Art History, Theory, and Criticism Department of Visual and Critical Studies School of the Art Institute of Chicago 112 South Michigan Avenue, Chicago IL 60603 312 345 3789 (fax) Email: ​jelkins@saic.edu​, j​ ameselkins@fastmail.fm Facebook:​ f​ acebook.com/jamesprestonelkins Amazon aStore (to buy books):​ ​astore.amazon.com/jameselkins Blogs, 2011-12: search the ​Huffington Post​. Education PhD with honors, University of Chicago, Department of Art, 1984–1989. Dissertation: “Perspective in Renaissance Art and in Modern Scholarship,” 6 vols. MA, University of Chicago, Department of Art, 1984. Thesis: “Hegelianism in the Contemporary Practice of Art History.” MFA, University of Chicago, Committee on Art and Design, 1983. Practice of art and thesis concerning the theory of art education in a studio setting. BA cum laude, Cornell University, 1977. Honors Thesis: “Gesture in Renaissance Art,” 5 vols. Honorary degree PhD honoris causa, Göteborg University, Sweden, 2008. Areas of Special Interest Theories of images Non–art images (maps, schemata, heraldry, etc.) Writing in art history and in the humanities Connections between science and art Historiography of art history Relation of studio art practice and art history Representations of the body Teaching E.C. Chadbourne Professor in the Department of Department of Art History, Theory, and Criticism, School of the Art Institute of Chicago, 1989–present. (Chadbourne Chair since 1999.) Visiting Associate Professor, Northwestern University, spring 1996. Visiting Associate Professor, University of Chicago, spring 1996. Visiting Associate Professor, University of California at Berkeley, fall 1996. Visiting Research Scholar, Duke University, fall 2000. Head of History of Art, University College Cork, Ireland, 2003–6. Robert Sterling Clark Visiting Professor in art history, Clark Art Institute, Williamstown MA, 2011-12. Books In chronological order. Non–academic books are marked *. See the separate listings of ​Edited Books and ​Anthologies​. 1) T​ he Poetics of Perspective​ ​(Ithaca, NY: Cornell University Press, 1994). 2) ​* ​The Object Stares Back: On the Nature of Seeing​ (New York: Simon and Schuster, 1996). 1. Paperback edition (New York: Harcourt Brace, 1997). 2. Excerpt in ​Religion, Art, and Visual Culture​, edited by S. Brent Plate (New York: Palgrave, 2002), 40–45. 3. Excerpt in Czech: “Dívat se jinam a vidět přiliš mnoho,” V ​ izuální Teorie​,​ edited and translated by Ladislav Kesner, second edition (Prague: H&H, 2005), 351-66. ISBN 80-7319-054-0. 4. Excerpt in ​Re-Enchantment​. 5. Excerpt in Russian, in ​The Visual World​. 6. Excerpt in ​(detail),​ exh. cat., edited by Andrew Bracey (London: Transition Editions, 2014), 161–6. ISBN 978-0-9568814-3-4. 7. One sentence of this book has been translated into Yoruba in David Doris, V ​ igiliant Things: On Thieves, Yoruba Anti-Aesthetics, and the Strange History of Ordinary Objects in Nigeria (Seattle: University of Washington Press, 2011).   3) O ​ ur Beautiful, Dry, and Distant Texts: Art History as Writing​ ​(University Park, PA: Penn State Press, 1997). 1. Paperback edition, with new preface (New York: Routledge, 2000). 2. German and French excerpts: see articles 45 and 79.   4) O ​ n Pictures and the Words That Fail Them​ ​(Cambridge: Cambridge University Press, 1998, reprinted 2011). 1. Italian edition planned, edited by Francesco Peri (Rome: Bollati Boringhieri). 2. Excerpt in Russian, in T​ he Visual World​. 3. German translation of ​the first chapter​. 4. Three chapters in French as “Désoccidentaliser la pensée du visuel: les concepts d’image en Chine, en Perse, et en Inde,” in ​Penser l’image II Anthropologies du visuel, ​edited by Emmanuel Alloa (Paris: Les Presses du réel, 2015), 257-88. 5) ​* ​What Painting Is​ (New York: Routledge, 1998). 1. Excerpt published in Slovenian as “Brez korakov / Steplessness,” ​Likovne besede​ [​Art Words​], translated by Mojca Zlokarnik 55–56 (2001): 90–99. 2. Excerpt in Russian, in T​ he Visual World​. 3. Italian translation, ​La pittura cos’è​,​ introduction by Tiziana Migliore, translated by George and Giuliana Camerino, with a new Preface for the Italian edition (Gemona del Friuli: Mimesis Edizioni, 2012). (a) Reviewed in P ​ sicoart​. (b) Reviewed on R ​ ai.tv.​   6) ​Why are Our Pictures Puzzles? On the Modern Origins of Pictorial Complexity​ ​(New York: Routledge, 1999). 1. Excerpt in Russian, in ​The Visual World​.   7) ​The Domain of Images, On the Historical Study of Visual Artifacts​ ​(Ithaca, NY: Cornell University Press, 1999). 1. Chapter 1 has appeared in Danish as “Kunsthistorie og billeder, der ikke er kunst,” ​Periskop 9 (2000): 49–80. 2. Chapter 1, excerpt, in ​Images: A Reader,​ edited by Sunil Manghani, Arthur Piper, and Jon Simons (London: Sage, 2007), 300-303. 3. Chapter 2 has appeared in Spanish as “La historia del arte como la historia de la cristalografía,” in ​Archivos de Cultura,​ edited by Jorge Blasco Gallardo (Valladolid: Gráficas Verona, 2005): 181–96 + plates. ISBN 84–9718–308–8. 4. Chapter 1 has appeared in Italian (see the citation under “A ​ rt History and Images That are Not Art”​ ) 5. Excerpt in Russian, in ​The Visual World​. 6. Chapter 1, in Portuguese, translated by Daniela Kern as “Historía da Arte e imagens que não são arte,” ​Porto Arte, Revista de Artes Visuais​ 30 (May, 2011):7–42. 7. Chinese translation in preparation for 江苏人民出版社 (People's Publishing House of Jiangsu), translated by Jiang Qigu.   8) C ​ hinese Landscape Painting as Western Art History​,​ with an introduction by Jennifer Purtle (Hong Kong: Hong Kong University Press, 2010). Reviewed in ​International Institute for Asian Studies (IIAS) Newsletter​ 57 (2011); ​Art Bulletin ​93 no. 2 (2011): 249–52; ​History and Theory​ 51 (February 2012). 1. The book was published in Chinese ten years before the English edition, which is completely revised. See ​西方美术史学中的中国山水画​ 潘耀昌,谷灵译,杭州中国美术学院出版社 1999 ​Xi fang mei shu shi xue zhong de Zhongguo shan shui hua,​ translated from the English by Pan Yaochang 潘耀 and Gu Ling 谷灵 (Hangzhou: Zhongguo mei shu xue yuan chu ban she [National Academy of Art], 1999). ISBN 871019707X 2. English excerpt from another early version in ​Stones From Other Mountains,​ edited by Jason Kuo (Washington, DC: New Academia, 2009), chapter 3, pp. 67–118. (See also the letters exchanged with Jim Cahill.) 3. C ​ hinese translation of the 2010 Preface​, in ​World Sinology​ 9 (2012): 118–27. This also has a Chinese translation of Jennifer Purtle’s introduction.   9) P ​ ictures of the Body: Pain and Metamorphosis​ (Stanford: Stanford University Press, 1999). This book is out of print. The book is being rewritten as an e-book; p ​ arts are online​. 1. “Esquemos secos,” excerpt of the final chapter in Spanish, translated by Fernando Quesada, in ​Cairon​ ​[Madrid], special issue “Cuerpo y Arquitectura,” “Body and Architecture,” 12 (2009): 155–85. 2. Excerpt in Russian, in ​The Visual World​. 3. Excerpt in French: “Les corps inversées,” ​Palais, le magazine du Palais de Tokyo​ 20 (2014): 109–14.   10) ​* ​How to Use Your Eyes​ ​(New York: Routledge, 2000). (Please don’t buy this in the Kindle edition: the book makes use of large-scale printed images.) 1. Excerpt (final chapter) in ​The Chronicle of Higher Education,​ section 2 (November 10, 2000), p. B 17. 2. 视 ​ 觉品味 (​ Chinese translation), trans. by Ding Ning (Beijing, 2006). ISBN 7-108-02356-3. 3. Excerpt in Russian, in T​ he Visual World​. 4. “How to Look at Mondrian’s Works” (Chinese translation by Fang Hui), in ​Poetry Calligraphy Painting​ 2 (2011): 220–22. 5. “Looking at the Sky: Ice Halos”: expanded version of chapter 25,​ H ​ uffington Post,​ January 18, 2011​.   11) ​* ​Pictures and Tears: A History of People Who Have Cried in Front of Paintings​ ​(New York: Routledge, 2001). 1. Chapter reprinted in the ​Chronicle of Higher Education,​ section 2 (November 9, 2001), pp. B7–B10. Online​ h ​ ere.​ 2. Chinese translation (Taipei: ​Rive Gauche Publishing​, 2012). ISBN 9789866723575. 3. Chinese translation, with a new Preface (Beijing: Jiang Su Fine Art Press, 2009). 4. Czech translation, ​Proè lidé pláèou pøed obrazy,​ translated by Marketa Blazkova (Prague: Academia, 2007), ISBN 978-80-200-1509-9. 5. Italian translation, ​Dipinti e lacrime​ ​(Milan: Paravia Bruno Mondadori Editori, 2007). Reviewed by Lorenzo Mondo, “E’ un quadro così bello che viene da piangere,” in ​La Stampa, March 9, 2007; by Giulio Brotti (see under Interviews); and in ​Corriere del Ticino​ (March 13, 2007). 6. Korean translation, [ ], translated by [ ] (Geonggi-do, Korea: Artbooks Publishing, forthcoming). 7. Farsi translation by Hesamaddin Rezai [Rezaei] (Tehran: Herfeh Nevisandeh, 2012 [sic: 2014]). 8. “How Long Does it Take to Look at a Painting?” revised version of the chapter on Bouts, in Huffington Post, ​November 6, 2010​. 9. “The Most Beautiful Painting in the World,” revised version of half the chapter on Bellini, in Huffington Post, ​March 16, 2011​. 10. Reviewed (very strangely) ​on Chinese TV,​ April 19, 2013.   12) ​Why Art Cannot be Taught: A Handbook for Art Students​ (​ Urbana, IL: University of Illinois Press, 2001). 1. Korean translation, ​학교 안의 미술 학교 밖의 미술​ (Seoul: Chaek–Se–Sang, 2006). ISBN 89-7013-570-7 03600 2. Chinese translation, ​Mei zhan mu si ai er jin si luo jie yi ​[​Art Is Not Out to Teach, ​or ​Art Is Self-Learnt,​ according to two websites]​ ​(Beijing: Peking University Press, 2012). See also the ​conversation​ on the book. 13) ​Stories of Art​ ​(New York: Routledge, 2002). 1. Korean translation (Seoul: Artbooks, 2005). ISBN 89–898000–44–7 03600 2. Excerpt in Russian, in ​The Visual World​. 14) V ​ isual Studies: A Skeptical Introduction​ (New York: Routledge, 2003). 1. Excerpt, in Danish, as “Visual Studies: En skeptisk introduktion,” ​Passepartout​ 24 (2004): 17–36. 2. Excerpt, in Russian [ , «Ш …» “Six Ways to Make Visual Studies More Difficult”], ​Topos​ 15 (European Humanities University Press, Vilnius, Lithuania, 2007): 26-56. 3. Chinese translation (Beijing: Jiang Su Fine Art Press, 2010). 4. Spanish translation, edited by José Luis Brea, with a new introduction and an Afterword, “Farewell to Visual Studies” (Madrid: Akal, forthcoming). In the Akal series on​ v​ isual studies​. 5. Excerpt (pp. 21–30), in Chinese, translated by Chen Fang, in ​Art and Design Research, ​edited by Peng Feng (2010).   15) * O ​ n the Strange Place of Religion in Contemporary Art​ ​(New York: Routledge, 2004). 1. Excerpt reprinted in ​Re-Enchantment. 2. Excerpt, in Spanish, in ​Exit Express​ magazine (Madrid), forthcoming. 3. Excerpt, in German, in ​Glaube und Spiritualität​, forthcoming. 4. In Farsi (forthcoming) See also the symposium on the book. 16)​ ​* ​What Happened to Art Criticism?​ (Chicago: Prickly Paradigm Press [distributed by University of Chicago Press], 2003). 1. Abbreviated translation into Chinese in ​Art Museum,​ translated by Chen Lei, edited by the Guangdong Art Museum, 2004. 2. Excerpt reprinted as “A Criticism of Contemporary Art Criticism” (一 ​ 种对当代美术批评的批 评​, ​yizhong dui dangdai meishu piping de piping​), ​China Art Weekly​ (美术报, ​meishu bao​, Hangzhou), Feb. 2, 2008, p. 45; Feb. 9, 2008, p. 39; Feb. 16, 2008, p. 38. 3. Excerpt reprinted as “A Criticism of Contemporary Art Criticism” (一种对当代美术批评的批 评, ​yizhong dui dangdai meishu piping de piping​), ​Culture Daily​ (中国文化报, ​zhongguo wenhua bao​), Beijing, Jan. 14, 2007, p. 3. 4. Excerpt in ​State of Art Criticism,​ vol. 4 of T​ he Art Seminar​. 5. Excerpt, in Spanish, in​ "El Cultural,"​ 23 October 2007. 6. Excerpt, revised and updated, in Swedish, “Dan Jönsson om James Elkins” and “Sju verklösa kurer för konstkritiken,” ​Bildskriften TAL​ no. 30-31 (2009): 83–93. 7. Excerpt, posted (without permission) on ​Scribd.​ 17) M ​ aster Narratives and Their Discontents​,​ with an introduction by Anna Arnar. ​Theories of Modernism and Postmodernism in the Visual Arts, ​vol. 1. (Cork, Ireland: University College Cork Press; New York: Routledge, 2005). See below, “Edited books,” for others in the series.   18) ​Six Stories from the End of Representation: Images in Painting, Photography, Microscopy, Astronomy, Particle Physics, and Quantum Mechanics, 1985-2000 ​(Stanford: Stanford University Press, 2008). Reviewed in ​Isis​ 99 no. 4 (2008); ​Nature​ [ ]. 1. Revised excerpt of Chapter 3 on astrophysics in German as “An den Grenzen des Darstellbaren: Bilder in der neueren astrophysikalischen Bildgebung,” in ​Maßlose Bilder, edited by Ingeborg Reichle (Munich: Wilhelm Fink Verlag, 2009), 296–318. 2. Excerpt in Russian, in ​The Visual World​. (In chronological order, ​Chinese Landscape Painting as Western Art History​ ​would belong here.) 19) ​Nationalism, Design, and the Ideology of Engineering: Images of the Bulgarian Repeating Rifle (Cheshire: New Graphics Press, 2012). Pamphlet, 32 pp. 20) ​The Sense of the Infinite on the Western Shore of Lake Victoria Nyanza​ (Kisumu: University of Nairobi-Kisumu Papers, 2011). Review by Alain Norpois, ​Imperspective​ 3 (2012), online. Review by Stephen Atieno Odhiambo, ​Magazine Reel,​ October 19, 2011, p. 7.   21) W ​ hat Photography Is​ ​(New York: Routledge, 2012). 1. Excerpt published in ​History of Photography. 2. Excerpt in Portuguese, “‘Escrever’ e ‘Selenite, Geo, Sal,” translated by Mariana Pinto dos Santos, ​Intervalo, ​special issue ​O Híbrido​ 5 (2012): 69–100. Review (in French)​ h ​ ere.​ Reviewed (in German) by Steffen Siegel in the ​Frankfurter Allgemeine Zeitung,​ Sept. 20, 2012, p. 32 by Steffen Siegel. Reviewed (in Dutch) by Jeroen Laureyns, in ​Rekto Verso​ 50 (January–February 2012).   22) * A ​ rt Critiques: A Guide​ (Washington, DC: New Academia, 2011). Second edition, 2012. This book was first published in color and black and white versions; a new edition will appear every year. Review of the first edition by​ S​ haron Butler.​ 23) ​You Rock My World: An Illustrated History of the Rocking Chair, Rocking Cradle, and Rocking Hammock, 1854-1923​ (Butler, CT: Birchbark Press, 2013). 24) ​What Heaven Looks Like ​(Laboratory Books, edited by David Fabricant, forthcoming, 2017). Excerpts in the​ Huffington Post, in four parts: ​1​, ​2​, ​3​, ​and 4 ​ ​. Excerpts in F​ ungiculture​. 25) ​What is Interesting Writing in Art History?,​ with a Foreword by Maria Fusco, Andrew Carnegie Lecture Series, no. 1​ ​(Edinburgh: Edinburgh College of Art, 2015).   Anthologies of my work   Russian anthology: ​ A Collection of Writing by James Elkins​ [in Russian], ​ ​[​The Visual World: . щ [edited by Almira Ousmanova and Anastassiya Denishchik] (Vilnius, Lithuania: European Humanities University, 2010). ( : , 2010), 534 pp. This anthology has a different selection of texts, and a different introduction, than the Spanish or German one. Reviewed in ​ Л ​ (​ ​),​ 2011. Spanish anthology:   The Visual World: A Collection of Writing by James Elkins ​[in Spanish], edited by Patricia Zalamea Fajardo (Bogotá, Colombia: Universidad de los Andes; Barcelona, Spain: Akal, forthcoming, 2016). German anthology: Kritik der visuellen Kultur / Critique of Visual Culture ​[in German]​, ​edited and with an Afterword by Gustav Frank (proposed, 2011; stalled, 2014). Estonian anthology: Tänapäeva kunsti probleemidest. James Elkins'i valitud kirjutised / Problems in Contemporary Art: Selected Writing of James Elkins ​[in Estonian], edited by Andri Ksenofontov. (Tallinn: Tallinn University Press, forthcoming), c. 200 pp. This anthology is a selection of texts that are also in the Spanish anthology, with a new introduction and different illustrations. Works in progress I am in the process of ​wrapping up my nonfiction writing​. These are the remaining projects. Our Visual Worlds​ (Oxford University Press), co-written with Erna Fiorentini. The Impending Single History of Art Excerpt, in Chinese: “Are Art Theory, Art Instruction, Literary Criticism, and the Novel Global Phenomena?,” translated into Chinese by Wang Xiaofei as 詹姆斯·埃尔金斯,有全球艺术史 学吗? [you quan qiu yi shu shi xue ma], ​China National Fine Arts ​[Zhong guo guo jia mei shu], vol. 6, 2014, pp. 5-7. Writing with Images This is online; it is c. 200 pp. as of 2015. What Is Interesting Writing in Art History? This is online; it is c. 150 pp. as of 2015. A Journey​ (working title for an experimental novel) This is the f​ iction project​, to be completed 2020. An excerpt has appeared in ​Manual: An Anthology of the Manual,​ edited by Amze Emmons et al. (Austin TX: Printeresting.org, 2014), 23–27. Articles In chronological order. 1) “Michelangelo and the Human Form: His Knowledge and Use of Anatomy,” ​Art History​ 7 (1984): 176–86. (a) Reviewed in ​Leonardo​ 18 (1985): 205. (b) Reprinted in M ​ ichaelangelo: Selected Readings​,​ edited by William Wallace (New York: Garland, 1999), 652–66. (c) In French as “Michel–Ange et la forme humaine. Sa connaissance et son utilisation de l’anatomie,” in ​l’Anatomie chez Michel–Ange: de la réalité à l’idéalité​ edited by Chiara Rabbi–Bernard (Paris: Hermann, 2003), 89–112. 2) “Piero della Francesca and the Renaissance Proof of Linear Perspective,” ​The Art Bulletin​ 69 (1987): 220–30. 3) “Remarks on the Western Art Historical Study of Chinese Bronzes, 1935–1980,” ​Oriental Art​ 33 (autumn 1987): 250–60. Revised version in O ​ ur Beautiful, Dry, and Distant Texts: Art History as Writing​. 4) “Two Conceptions of the Human Form: Bernard Siegfried Albinus and Andreas Vesalius,” ​Artibus et historiæ​ 14 (1986): 91–106.   5) “Psychoanalysis and Art History,” ​Psychoanalysis and Contemporary Thought​ 9 (1986): 261–98. 6) “Art History Without Theory,” ​Critical Inquiry​ 14 (1988): 354–78. 7) “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 (1988): 190–96. (a) Reprinted in L​ eonardo’s Science and Technology: Essential Readings for the Non–Scientist​, edited by Claire Farago (New York: Garland, 1999). 8) “‘Das Nüßlein beisset auf, Ihr Künstler!’—Curvilinear Perspective in Seventeenth Century Dutch Art,” ​Oud Holland​ 102 (1988): 257–76. 9) Reply to E. H. Gombrich, ​Critical Inquiry ​14 (1988): 893. Reply to Gombrich’s response to the article “Art History without Theory.” 10) “On the ​Arnolfini Portrait ​and the ​Lucca Madonna: ​Did Jan Van Eyck Have a Perspectival System?” The Art Bulletin​ 73 (1991): 53–62. 11) “The Case Against Surface Geometry,” ​Art History​ 14 no. 2 (1991): 143–74. 12) “Mannerism: Deformation of the Stage,” ​Storia dell’Arte ​67 (1989): 257–62. 13) “Clarification, Destruction, Negation of Space in the Age of Neoclassicism” ​Zeitschrift für Kunstgeschichte ​56 no. 4 (1990): 560–82. 14) “Comparative Studing [sic] on [sic] Chinese Painting and Eastern [sic] Painting, Written. [sic] by James Elkins Tvanslated [sic] by Feng Lemin” [in Chinese except for the title], ​History and Theory of Fine Arts,​ Beijing 2 (1991): 103–111. (a) Revised version in ​Xi fang mei shu shi xue zhong de Zhongguo shan shui hua. 15) “Uccello, Duchamp: The Ends of Wit,” ​Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft​ 36 (1991 [published 1993]): 199–224 and 10 plates. 16) “An Ambilogy of Painted Meanings,” ​Art Criticism ​8 no. 2 (1992): 26–35. Revised version in W ​ hy Are Our Pictures Puzzles​? 17) “On Modern Impatience,” ​Kritische Berichte ​3 (1991): 19–34. Revised on the ​Huffington Post: (a) “Are Artists Bored by Their Work?”​ H ​ uffington Post,​ December 15, 2010.​ (b) “Exploring Famous Unfinished Paintings in Google Art Project: Cézanne, DeKooning, Ofili,” Huffington Post​, February 15, 2011​. 18) “On the Impossibility of Stories: The Anti–Narrative and Non–Narrative Impulse in Modern Painting,” ​Word & Image ​7 no. 4 (1991): 348–64. 19) “Studio Art Critiques as Seductions,” ​Journal of Aesthetic Education ​26 no. 1 (1992): 105–107. Abridged version in W ​ hy Art Cannot be Taught​. 20) “The Snap of Rhetoric: A Catechism for Art History,” ​SubStance​ 68 (1992): 3–16. Revised version in O ​ ur Beautiful, Dry, and Distant Texts: Art History as Writing​. 21) “Renaissance Perspectives,” ​Journal of the History of Ideas ​53 no. 2 (April–June 1992): 209–230. 22) “On the Conceptual Analysis of Gardens,” ​Journal of Garden History​ 13 no. 4 (1993): 189–98. Revised version in O ​ ur Beautiful, Dry, and Distant Texts: Art History as Writing​. Excerpt in L​ andscape Theory​,​ vol. 6 of ​The Art Seminar. 23) “The ‘Fundamental Concepts’ of Pictures,” ​The Journal of Speculative Philosophy​ 6 no. 2 (1992): 143–151. 24) “On the Unimportance of Alchemy in Western Painting,” ​Konsthistorisk tidskrift​ 61 (1992): 21–26. 25) “From Copy to Forgery and Back Again,” ​The British Journal of Aesthetics​ 33 no. 2 (1993): 113–20. Reprinted in: ​Ethics and the Arts,​ edited by Alan H. Goldman (New York: Garland Press, forthcoming). 26) “On Visual Desperation and the Bodies of Protozoa,” ​Representations​ 40 (1992): 33–56. Revised version in P ​ ictures of the Body​. 27) “The Drunken Conversation of Chaos and Painting,” ​Meaning ​12 (1992): 55–60. 28) “The Unease in Art History,” ​Qui parle​ 6 no. 1 (fall/winter 1992): 113–33. Revised version in ​Our Beautiful, Dry, and Distant Texts: Art History as Writing. 29) “Style,” article in ​The Grove Dictionary of Art​ (New York, Grove Dictionaries, 1996). In ​Grove Art Online / Oxford Art Online,​ ​here.​ Reviewed by Richard Brilliant, in ​The Art Journal​ 56 no. 2 (1997): 84–85; and by Joseph Rykwert, in ​London Times Literary Supplement​ (November 1, 1996): 18–19. 30) “Abstraction’s Sense of History: Frank Stella’s ​Working Space​ Revisited,” ​American Art​ 7 no. 1 (winter 1993): 28–39. 31) “The Failed and the Inadvertent: The Theory of the Unconscious in the History of Art” International Journal of Psycho–Analysis​ 75 part 1 (1994): 119–32. Revised version ​(2001). 32) “A Hagiography of Bugs and Leaves: on the Dishonesty of Pictured Religion,” ​Journal of Information Ethics​ 2 no. 2 (1993). 53–70. Reprinted in ​Religion and the Arts​ 1 no. 3 (1997): 73–88. 33) “Art History and the Criticism of Computer–Generated Images,” ​Leonardo​ 27 no. 4 (1994): 335–42 and color plate. Also in electronic format in ​SIRS Renaissance,​ CD–ROM (Boca Raton, FL: Social Issues Research Series, 1995). 34) “On Monstrously Ambiguous Paintings,” ​History and Theory​ 32 no. 3 (1993): 227–47. Revised version in W ​ hy Are Our Pictures Puzzles​? 35) “What Really Happens in Pictures? Misreading with Nelson Goodman,” in ​Word & Image​ 9 no. 4 (1993): 349–62. Revised version in T​ he Domain of Images​. 36) “The Question of the Body in Mesoamerican Art,” ​Res​ 26 (1994): 113–24. 37) “Parallel Art History / Studio Program,” ​The Art Journal ​(1995): 54–57. 38) “There are No Philosophic Problems Raised by Virtual Reality,” ​Computer Graphics ​28 no. 4 (1994): 250–54. 39) “Art Criticism,” article in ​The Grove Dictionary of Art​ (New York, Grove Dictionaries, 1996). In ​Grove Art Online / Oxford Art Online​,​ ​here.​   40) “Marks, Traces, ​Traits,​ Contours, ​Orli,​ and ​Splendores: ​Nonsemiotic Elements in Pictures,” ​Critical Inquiry ​21 (1995): 822–60. Revised version in P ​ ictures and the Words That Fail Them​. The reply to Mieke Bal’s response to this essay is listed below. German translation, abbreviated, in ​Sichtbarkeiten 3:​ ​Umreißen​: Eigenwege der Zeichnung, edited by Mira Fliescher, Lina Maria Stahl, and Elena Vogman (Berlin: Diaphanes, 2014), 7–16.   41) “Different Horizons for the Concept of the Image,” ​Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft​ 43 no. 1 (1998): 29–46. Revised version in P ​ ictures and the Words That Fail Them. 42) “Between Picture and Proposition: Torturing Paintings in Wittgenstein’s ​Tractatus,”​ ​Visible Language ​30 no. 1 (1996): 73–95. Revised version in T​ he Domain of Images. 43) “On the Impossibility of Close Reading: The Case of Alexander Marshack,” ​Current Anthropology 37 no. 2 (1996): 185–226. An abridged version, without the responses and ensuing discussion, appears in ​Our Beautiful, Dry, and Distant Texts: Art History as Writing​.   44) “Art History and Images that are Not Art,”​ The Art Bulletin​ 77 no. 4 (1995): 553–71. This was revised for T​ he Domain of Images​. (a) Danish translation (see ​The Domain of Images​) (b) Italian translation: “La storia dell’arte e le immagini che arte non sono,” translated by Pietro Conti, in ​Teorie dell’immagine: il dibattito contemporaneo, ​edited by Andrea Pinotti and Antonio Somaini (Milan: Raffaello Cortina, 2009), 155–208. (c) Portuguese translation (see ​The Domain of Images​) 45) “Histoire de l’art et pratiques d’atelier,” translation of “Why Art Historians should Draw: The Case for Studio Experience,” ​Histoire de l’art ​29–30 (1995): 103–112. [French] Revised version of a chapter in ​Our Beautiful, Dry, and Distant Texts: Art History as Writing​. See also essay no. 79. 46) “Why Are Our Pictures Puzzles? Some Thoughts on Writing Excessively,” ​New Literary History ​27 no. 2 (1996): 271–90. Revised version in W ​ hy Are Our Pictures Puzzles​? 47) “Is It Still Possible to Write a Survey of Art History?” ​Umeni​ (Prague) 43 (1995): 309–16. Revised version in ​Stories of Art. 48) “La Persistance du ‘tempérament artistique’ comme modèle: Rosso Fiorentino, Barbara Kruger, Sherrie Levine,” ​Ligeia​ 17–18 (October 1995/June 1996): 19–28. [French] 49) “What Are We Seeing, Exactly?,” contribution to a forum on digital images, ​The Art Bulletin​ 79 no. 2 (1997): 191–98. Response to a letter to the editor, by Charles Rhyne: “Digital Culture and Art History: High–Quality Images are Available Now,” ​The Art Bulletin​ 80 no. 1 (1998): 194. Revised version in ​Visual Practices Across the University. 50) “A Thought Experiment, For a Book to be Called ​Failure in Twentieth–Century Art​ [critical review of David Carrier’s work],” ​Journal of Aesthetic Education​ 32 no. 4 (1998): 43–51. 51) “Logic and Images in Art History,” response to Peter Galison’s ​Image and Logic,​ in ​Perspectives on Science​ 7 no. 2 (1999): 151–80. 52) “On Some Useless Images [in Physics],” ​Visual Resources​ 17 (2001): 147–63. Revised version in S​ ix Stories from the End of Representation​. 53) “Why it Is Not Possible to Write the Art History of Non–Western Cultures,” translated into Chinese by Ding Ning, in ​Mei yuan/Journal of the Lu Xun Academy of Fine Arts ​(Beijing) 3 (2002): 56–61. (a) Reprinted in English and Slovenian in ​Minulost’v Prítomnosti: Súcasné umenie a umeleckohistorcké myty / The Past in the Present: Contemporary Art and Art History’s Myths, edited by Ján Bakoš (Bratislava: Nadácia–Centrum Súcasného Umenia, 2002 [sic: 2003]), 229–55. 54, 55) “What is the Difference Between the Body’s Inside and Its Outside?” and “The Limits of Phenomenology: On the Inconceivable and the Unrepresentable in Skin and Membrane Metaphors,” in ​The Imagination of the Body and the History of Bodily Experience,​ edited by Shigehisa Kuriyama (Kyoto: International Research Center for Japanese Studies, 2001), 9–16, 261–67. 56) “The End of the Theory of the Gaze,” in ​Knowing Bodies, Feeling Minds: Embodied Knowledge in Arts Education and Schooling,​ edited by Liora Bresler​ ​(Kluwer, forthcming.) Revised version in Spanish: “El final de la teoría de la mirada,” translated by Noelia García Pérez, in ​Debats​ 79 (2002–3): 76–89. Posted (without permission) on S​ cribd​. 57) “The Most Interesting Things That Can be Done with Representation [essay for​ ​the artist​ Vik Muñiz​],” [ ]. Reprinted on the Saatchi Gallery website, May 2007. 58) “What Does Peirce’s Sign System Have to Say to Art History?” ​Culture, Theory, and Critique​ 44 no. 1 (2003): 5–22. (a) In Italian as “Cosa può dire la teoria peirciana del segno alla storia dell’arte?” in R ​ ivista on-line dell’ AISS, Associazione Italiana Studi Semiotici​. 59) “Preface to the book ​A Skeptical Introduction to Visual Culture,” Journal of Visual Culture​ 1 no. 1 (2002): 93–99. Revised version in ​Visual Studies: A Skeptical Introduction. 60) “Four Ways of Measuring the Distance Between Alchemy and Contemporary Art,” ​Hyle​ 9 no. 1 (2003): 105–18. Russian translation (2008), journal of the Department of Philosophy, St. Petersburg State University, translated by Vitaliy Morozov. 61) “From Bird-Goddesses to ​Jesus 2000:​ A Very, Very Brief History of Religion and Art,” ​Thresholds [MIT] 25 (2002): 76–83. Includes an exchange with Caroline Jones. (a) Reprinted in ​Faith, ​exh. cat., edited by James Hyde (Hartford CT: Real Art Ways, 2005-2006), 79-90. 62) “Ako je mozné písat’ o svetovom umení?” [“How is It Possible to Write About the World’s Art?”] Ars ​[Bratislava] 2 (2003): 75–91, with English summary provided by the editors. [Slovakian] 63) “Words and Images Most Severely Distorted,” ​Circa​ [Dublin] 204 (2003): 55–57. 64) “The State of Irish Art History,” ​Circa​ [Dublin] 106 (2003): 56–59. ​Online.​ In Slovenian as “Stanje umetnostne zgodovine na irskem,” translated by Tina Košak, Umetnostna kronika​ 15 (2007): 31-34. See also no. 80. 65) “What Have We Inherited? [on the place of Joyce in contemporary art]” in Christa–Mia Lerm Hayes, ​Joyce in Art: Visual Art Inspired by James Joyce​ (Dublin: Lilliput, 2004), 325–29.   66) “Two Forms of Judgement: Forgiving and Demanding (The Case of Marine Painting),” ​Journal of Visual Art Practice​ 3 no. 1 (2004): 37–46. This is a draft chapter for ​The ​Project of Painting​. 67) “Preface” to Eduardo Kac, ​Telepresence and Bio Art: Networking Humans, Rabbits, and Robots (Ann Arbor MI: University of Michigan Press, 2005). 68) “Why Nothing Can Be Accomplished in Painting, And Why It Is Important To Keep Trying,” ​Circa 109 (2004): 38–41. (a) Reprinted in part in “The Fenton Gallery in the Context of International Art,” in Representing Art in Ireland​ (book for the Fenton Gallery, Cork, Ireland),​ ​edited​ ​by Nuala Fenton (Cork, 2008), 217–26. ISBN 978-0-9544843-8-5. 69) “Theoretical Remarks on Combined Creative and Scholarly PhD Degrees in the Visual Arts,” ​Journal of Aesthetic Education​ 38 no. 4 (2004): 22–31. 70) “The Very Theory of Transgression: Bataille, ​lingchi,​ and Surrealism,” ​Australian and New Zealand Journal of Art​ 5 no. 2 (2004): 5–19. (a) Revised version published as: “The Most Intolerable Photographs Ever Taken,” in ​The Ethics and Aesthetics of Torture: Its Comparative History in China, Islam, and Europe,​ edited by Timothy Brook and Jérôme Bourgon (London: Rowman and Littlefield, 2012). (b) In Portuguese as: “As fotografias mais intoleráveis já tiradas,” in ​Leituras do Corpo​, edited by Christine Greiner and Claudia Amorim (São Paulo: Annablume, 2003), 27–63. ISBN 85-7419-358-5. 71) “Harold Edgerton’s Rapatronic Photographs of Atomic Tests,” ​History of Photography​ 28 no. 1 (2004): 74–81. Revised version of an exhibition catalog essay (New York: Roth Horowitz, c. 2003). (a) German translation, slightly abridged, as “Harold Edgertons rapatronische Fotografien von Atomversuchen,” translated by Josephine Fenger, in ​Atombilder: Ikonographien des Atoms in Wissenschaft und Öffentlichkeit des 20. Jahrhunderts,​ edited by Jochen Hennig and Charlotte Bigg (Berlin: Wallstein Verlag, 2009). 72) “What Do We Want Photography to Be? [reply to Michael Fried’s “Barthes’s ​Punctum​]​”​ ​Critical Inquiry​ 31 no. 4 (2005): 938–56. (a) Reprinted in ​Photography Degree Zero: Reflections on Roland Barthes’s ​Camera Lucida,” edited by Geoffrey Batchen (Cambridge, MA: MIT Press, 2009), 171–86. 73) “Afterword: On Beyond Research and New Knowledge,” in ​Thinking Through Art: Reflections on Art ​As​ Research,​ edited by Katy Mcleod and Lin Holdridge (London: Routledge, 2005), 241–47. On PhD programs in visual art. This is an abbreviated version of the text in ​Printed Project​. 74) “Einige Gedanken über die Unbestimmtheit der Darstellung [On the Unrepresentable in Pictures],” in ​Das unendliche Kunstwerk: Von der Bestimmtheit des Unbestimmten in der ästhetischen Erfahrung, edited by Gerhard Gamm and Eva Schürmann​ ​(Berlin: Philo, 2006), 119-40. ISBN 978-3-86572-632-2 [German] 75) “Una nota sulle ‘prospettive’ non–occidentali” in ​Orienti e Occidenti della Rappresentazione, edited by Agostino de Rosa (Venice: Il Poligrafo, 2005), 249–53. [Unillustrated excerpt from “The Visual: How it is Studied”] ISBN 88–7115–446–0 [Italian] 76) “Afterword” to ​Discovering Chinese Painting: Dialogues With Art Historians,​ edited by Jason Kuo, second edition (Dubuque, IO: Kendall/Hunt Publishing, 2006), 249–56. 77) “Naïfs, Faux-Naïfs, Faux Faux-Naïfs, Would-Be-Faux-Naïfs: There is No such Thing as Outsider Art,” in ​Inner Worlds Outside,​ exh. cat., edited by John Thompson (Dublin: Irish Museum of Modern Art, 2006), 71–79. 78) “Can We Invent a World Art Studies?” in ​World Art Studies​, edited by Wilfried van Damme and Kitty Zijlmans (Leiden: Valiz, 2008), 92–102. 79) “Warum Kunsthistoriker malen lernen sollten—ein Plädoyer für Werkstatterfahrung,” in ​Subjekt und Medium in der Kunst der Moderne​, edited by Michael Lüthy and Christoph Menke (Zurich and Berlin: Diaphanes, 2006), 87-114. [German] Revised version of a chapter in ​Our Beautiful, Dry, and Distant Texts: Art History as Writing​; expanded version of essay no. 45. 80) “The State of Irish Art History Revisited,” ​Circa​ 116 (summer 2006), and “Response” [to eight letters responding to the original essay, by Joan Fowler, Lucy Cotter, Maeve Connolly, Mia Lerm Hayes, Róisín Kennedy, Rosemarie Mulcahy, Sheila Dickinson, and Siún Hanrahan], ​Circa​ 118 (winter 2006): 45-47. The essay is ​here​, and the responses h ​ ere​. See also no. 64. 81) “Über die Unmöglichkeit des ​close reading​,” in ​Was aus dem Bild fällt: figuren des Details in Kunst und Literatur,​ [​Festschrift ​für​] ​Friedrich​ Teja Bach zum 60. Geburtstag, ​edited by Edith Futcher, Stefan Neuner, Wolfram Pichler, and Ralph Ubl (Munich: Wilhelm Fink, 2007), 107–40. [German] Abridged version of chapter 3 in ​Our Beautiful, Dry, and Distant Texts: Art History as Writing​, which is in turn abridged from article no. 43. This version has introductory material on the contemporary interest in close readings and details.   82) “Writing About Modernist Painting Outside Western Europe and North America,” in ​Compression vs. Expansion: Containing the World’s Art,​ edited by John Onians (New Haven: Yale University Press, 2006), 188-214. Revised version published as “Writing About Modernist Painting Outside Western Europe and North America,”​ ​Transcultural Studies​ [Heidelberg University, online], 1 no. 1 (10 Nov 2010). This is a draft chapter for ​The ​Project of Painting​. 83) “Camera Dolorosa [excerpt from ​What Photography Is​],” ​History of Photography​ 31 no. 1 (2007): 22-30. 84) “Is Anyone Listening?” [one-page assessment of the debates in ​Photography Theory​] ​Photofile​ 80 (winter 2007): 80. 85) “Ten Reasons to Mistrust the New PhD in Studio Art,” ​Art in America​ (May 2007): 108-9. Spanish translation: “Diez razones para desconfiar del PhD en Estudios Artísticos,” translated by Fernando Uhia, ​Cuadernos Grises​ 4 (Bogotà: Departamento de Arte, Universidad de los Andes, 2009), 155–60. ISSN 1900 1681 86) “Is There a Canon in Art History?” in ​Partisan Canons,​ edited by Anna Brzyski (Durham NC: Duke University Press, 2007), [ ]. 87) “The Mottled Discourse of Chinese Studies,” response to Jonathan Hay, “The Mediating Work of Art.” In a set of “Interventions,” ​The Art Bulletin ​89 no. 3 (2007). Hay’s essay is pp. 435-59; my response, pp. 482-86. 88) “Photography Between History and, Well,” in ​Three Hours Between Planes,​ exh. cat. (Chicago Cultural Center / Hochschule für Grafik und Buchkunst, Leipzig, 2008). 89) “The Three Configurations of Studio Art PhDs,” in ​Mapping Landscapes in Performance as Research: Scholarly Acts and Creative Cartographies, ​edited by Shannon Rose Riley and Lynette Hunter (London: Palgrave, 2009), 107–13. An earlier version of part of a chapter in ​Artists with PhDs.   90) “Über das Buch ​Landscape Theory,​” translated by Jean-Marie Clarke and Richard Schindler, in Points of View: Landschaft verstehen, Geographie und Ästhetik, Energie und Technik​, edited by Richard Schindler (Freiburg i. Br., Modo Verlag Freiburg, 2008), 45–54. [German] Assessment of the book ​Landscape Theory​. 91) “On Some Limits to Film Theory (Mainly from Science),” in​ Cinema and Technology: Cultures, Theories and Practices​, edited by Bruce Bennett, Marc Furstenau, and Adrian Mackenzie (Houndsmills, Basingstoke, Hampshire, England: Palgrave Macmillan, 2008 [New York: St Martin’s Press LLC]), 53–70. 92) “How Pictures Die,” posted on ​Richard Woodfield’s site​. This is a sketch for part of chapter 1 of ​Six Stories from the End of Representation​. 93) “The Idea of Painting as a Whole,” ​Tampa Journal of Art History​ 3 (2008),​ o ​ nline​. This is a brief summary of ​The ​Project of Painting​. 94) “Liquid Thoughts on the Body and Religion,” introduction to ​Fluid Flesh: The Body, Religion and the Visual Arts,​ edited by Barbara Baert (Ithaca, NY: Cornell University Press, 2011). 95) “Iconoclasm and the Sublime: Two Implicit Religious Discourses in Art History,” in​ Idol Anxiety, edited by Josh Ellenbogen and Aaron Tugendhaft (Stanford, CA: Stanford University Press, 2011), 133–51. 96) “The Good, The Bad, and the Ugly” [title changed by ​Frieze; ​the original is “Reasons Not to Be Optimistic About Visual Studies],” ​Frieze​ 118 (2008): 252–59. Online​ ​here​. 97) “Two Ends of the Emblem,” ​Emblematica​ [ ]. 98) “Aesthetics and the Two Cultures: Why Art and Science Should be Allowed to Go Their Separate Ways,” in ​Rediscovering Aesthetics​, edited by Tony O’Connor, Frances Halsall, and Julia Jansen (New York: Columbia University Press, forthcoming). 99) “Gegen das Erhabene” [“Against the Sublime”], in ​Das Erhabene in Wissenschaft und Kunst: Über Vernunft und Einbildungskraft​, edited by Roald Hoffmann and Iain Boyd Whyte (Berlin: Surhkamp: 2010): 97–113. (a) English edition: ​Beyond the Finite: The Sublime in Art and Science,​ edited by Roald Hoffmann and Iain Boyd Whyte (New York: Oxford University Press, 2011), 20–42. 100) “On Some Limits of Materiality in Art History,” ​31: Das Magazin des Instituts für Theorie ​[Zürich] 12 (2008): 25–30. Special issue ​Taktilität: Sinneserfahrung als Grenzerfahrung,​ edited by Stefan Neuner and Julia Gelshorn. ISSN 1660-2609, ISBN 978-3-906489-10-0. (a) Reprinted in ​Retorica del visibile: strategie dell’immagine tra significazione e comunicazione, ​vol. 1, ​Conference, ​edited by Tiziana Migliore (Rome: ARACNE, 2011), 137–48. ISBN 978-88-548-3850-5. 101) “On the Strange Place of Religion in Contemporary Art: A Symposium,” edited by Theodore Prescott, ​Books and Culture: A Christian Review ​(May / June 2009): 24–25. Response to five readings of ​On the Strange Place of Religion in Contemporary Art​. A version of this is posted​ h ​ ere​. 102) “Ten Reasons Why E.H. Gombrich is Not Connected to Art History,” ​Human Affairs​ [Bratislava] 19 no. 3 (2009). (a) This is also posted on the ​Gombrich website​, under “Forum.” (b) Italian translation, “Le ragioni per cui Ernst H. Gombrich non può essere considerato uno storico dell'Arte,”​ E​ stetica​,​ 2010. 103) “Introduction to Art Theory in the West, 1980-2010,” in Chinese, edited and translated by Shen Yubing, ​ Art Research ​(美术研究), edited by Yin Shuangxi, published by the China Central Fine Art Academy (中央美术学院) (2011?). 104) “What Do Artists Know? A Preliminary Report,” ​Mahkuzine ​[Utrecht] 8 (winter 2010):27–30. A report on the conference that led to the book, ​What Do Artists Know? 105) “Afterword,” in ​Judgment and Contemporary Art Criticism, ​edited by Jeff Khonsary and Melanie O’Brian (Vancouver: Artspeak, Fillip Editions, 2010). ISBN 978-0-9738133-6-4. This is a response to Diedrich Diederichsen, Maria Fusco, Tom Morton, Jeff Derksen, Sven Lütticken, and Tirdad Zolghadr, on the subject of contemporary art criticism. See also the book State of Art Criticism. 106) “Why Art History is Global,” in ​Globalization and Contemporary Art, ​edited by Jonathan Harris (London: Blackwell, 2011), 375–86. A review of the literature from c. 2005 - 2010, and a brief critique of positions taken by visual studies. 107) “Keynote Essay: Towards an International Visual Studies Reader,” ​Artefact​ [Dublin] 4 (2010): 6–13. A draft of the introduction to the book T​ heorizing Visual Studies​. 108) “How to Look at a Mondrian,”​ H ​ uffington Post, ​October 13, 2010.​ One of six essays on the Huffington Post. 109) “Introduction: Art Critiques: Forgotten Children of the Academy,” to ​The Art of Critique,​ edited by Stephen Knudsen ([ ], 2013). Response to thirty essays by Danto, Schjeldahl, Camnitzer, Gopnik, Jaar, Schwabsky, and others, in the form of an essay on the relation between student art critiques and public art criticism. 110) “Images Without Sense,” ​Was ist ein Bild? Antworten in Bildern: Gottfried Boehm zum 70. Geburtstag,​ edited by Sebastian Egenhofer, Inge Hinterwaldner, and Christian Spies (Munich: Wilhelm Fink, 2012), 79–82. 111) “Some International Contexts,” response to Inés Dussel, “Visuality and History of Education: Just Another Historiographic Fad?,” in ​Bildungsgeschichte: International Journal for the Historiography of Education​ 2 no. 2 (2012): 237–38. 112) Answer to the question, “Wozu noch Philosophie?” ​Topos: Journal for Philosophy and Cultural Studies​ 1 (2012):12–13.   113) “Incoherences of the Art World,” ​Práticas da Teoria​ no. 10 (2012) (Lisbon, Instituto de História da Arte: Edição, 2014). This essay was the Envoi to the series T​ he Art Seminar​.​ It is reprinted here, edited, and with a new introduction. 114) “Six Cultures of the PhD,” in​ ​SHARE: Handbook for Artistic Research Education​,​ edited by Mick Wilson and Schelte van Ruiten, 2014. An essay on international varieties of the PhD for artists. Also available ​here.​ 115) “A Thought on the Future and State of the Image,” in F​ acing Forward: Art and Theory from a Future Perspective​,​ edited by Hendrik Folkerts, Christoph Lindner, and Margriet Schavemaker (Amsterdam: University of Amsterdam Press, 2015), 65–72. ฀ ฀ 116) “Preface” to Tim Gilman-Sevcík, “The Academy of Forgetting,” dissertation submitted to the Division of Media and Communication of The European Graduate School in Candidacy for the Degree of Doctor of Philosophy, 2014. 117) “Epilogue” to ​Art, Technology, and Nature: Renaissance to Postmodernity,​ edited by Camilla Skovbjerg Paldam and Jacob Wamberg (Farnham: Ashgate, 2015), 237-48. 118) “The Homonymic Curtain,” co-authored with Richard Gregor, ​Umeni ​(Prague) 63 no. 3 (2015): 150-55.   Edited books Not in chronological order; the most recent titles are underlined.   (1–5) Series editor, ​Theories of Modernism and Postmodernism in the Visual Arts, ​5 vols. (Cork, Ireland: University College Cork Press; New York: Routledge, 2005–2011). Vol. 1: Elkins, ​Master Narratives and Their Discontents​,​ with an introduction by Anna Arnar. (Listed above, under “Books”) Vol. 2: Stephen Bann, ​Ways Around Modernism​ (New York: Routledge, 2007)​,​ with an introduction by Margaret MacNamidhe. Vol. 3: Richard Shiff, D ​ oubt​ (New York: Routledge, 2008), with an introduction by Rosie Bennett. Vol. 4: Pamela Lee, ​New Games: Postmodernism After Contemporary Art​ (New York: Routledge, 2012), with an introduction by Johanna Burton. Vol. 5: Joseph Koerner, ​Last Experiences of Painting,​ with an introduction by Elena Calvillo. Projected for 2016.   (6–12) Series editor, ​The Art Seminar,​ 7 vols. (NY: Routledge, 2005–2008). Series translated into Vietnamese, edited by​ N ​ guyen Nhu Huy​ (Ho Chi Minh City:​ S​ achhay Publishers​, forthcoming). Vol. 1: Art History versus Aesthetics​, vol. 1 of ​The Art Seminar, ​with an Introduction by Robert Gero, Afterwords by Jay Bernstein and Marc Redfield, and assessments by Arthur Danto, Thierry De Duve, Diarmuid Costello, Andrew Benjamin, Stephen Melville, Adrian Rifkin, Paul Crowther, Wendy Steiner, John Hyman, Richard Woodfield, Anna Dezeuze, Keith Moxey, Matthew Rampley, and about twenty others (New York: Routledge, 2005). Contains the essay “Why Don’t Art Historians Attend Aesthetics Conferences?” Vol. 2: Vol. 3: Vol. 4: Vol. 5: Photography Theory​, vol. 2 of ​The Art Seminar, ​with an introduction by Sabine Kriebel, an Afterword by Walter Benn Michaels, and contributions by Joel Snyder, Margaret Iversen, Jan Baetens, Liz Wells, Geoffrey Batchen, Carol Squiers, Michael Leja, Margaret Olin, Abigail Solomon-Godeau, Johan Swinnen, Steve Edwards, Rosalind Krauss, Alan Trachtenberg, Diarmuid Costello, Victor Burgin, Graham Smith, Anne McCauley, Walter Benn Michaels, and others (New York: Routledge, 2006). See also the review. 1. Chinese translation: (Beijing: Phoenix Publishing Group, 2010). 2. Second Chinese translation: (Beijing: HuBei Fine Art Publishing House, 2017). 2. Turkish translation: (Istanbul: Espas Sanat Kuram Yayinlari Yapim Dagitim Egitim San. Tic. Ltd. Sti. Of Mueyyetz Mah, c. 2012). Is Art History Global?​, vol. 3 of ​The Art Seminar, ​with an Afterword by Shelly Errington, and contributions by Friedrich Teja Bach, Cao Yiqiang, Shigemi Inaga, Craig Clunas, Suman Gupta, David Carrier, Matthew Rampley, Keith Moxey, Andrea Giunta, Sandra Klopper, Barbara Stafford, Charlotte Bydler, Thomas DaCosta Kaufmann, Mariusz Bryl, Keith Moxey, Suzana Milevska, Shelly Errington, David Summers, and others (New York: Routledge, 2006). Includes a reprint of the review of David Summers’s book. 1. The introductory essay (pp. 3–24) is excerpted in Estonian as “Kunstiajalugu kui globaalne distsipliin,” ​Kunstiteaduslikke Uurimusi / Studies on Art and Architecture​ 2008 (3): 113–23. 2. The introductory essay is revised and reprinted as “Is Art History a Global Discipline?” Stones From Other Mountains,​ edited by Jason Kuo (Washington, DC: New Academia, 2009), chapter 1, 9–28. (See also the letters to Jim Cahill in the same book.) 3. Introductory essay slightly revised on the​ ​Karlsruhe Global Art Museums site​, 2012. The State of Art Criticism​,​ co-edited with Michael Newman, vol. 4 of ​The Art Seminar, ​with contributions by Stephen Melville, Dave Hickey, Irit Rogoff, Guy Brett, Katy Deepwell, Joseph Masheck, Peter Plagens, Julian Stallabrass, Alex Alberro, Whitney Davis, Abigail Solomon-Godeau, and others (New York: Routledge, 2007). Includes a partial reprint of ​What Happened to Art Criticism?. ​See also the review of this book in the Afterword to the final volume in the series, and in the “Afterword” to ​Judgment and Contemporary Art Criticism. 1. Translation into Spanish, under preparation by Iván Ordóñez, Bogotà (2011). First part ​here​. Renaissance Theory​,​ co-edited with Robert Williams, vol. 5 of ​The Art Seminar, ​with an Introduction by Rebecca Zorach and contributions by Stephen Campbell, Fredrika Jacobs, Matt Kavaler, Michael Cole, Claire Farago, Alessandro Nova, and others (New York: Routledge, 2007). Contains a Preface to ​Streams into Sand.   Vol. 6:   Vol. 7: Landscape Theory​,​ co-edited with Rachael DeLue, vol. 6 of ​The Art Seminar, ​with contributions by Rachael DeLue, Yvonne Scott, Minna Törmä, Denis Cosgrove, Rebecca Solnit, Anne Whiston Spirn, David Hays, Michael Gaudio, Jacob Wamberg, Michael Newman, Jessica Dubow, and others (New York: Routledge, 2008). Includes an abridged revision of “On the Conceptual Analysis of Gardens.” The book is assessed in this article. Posted (without permission) on ​Scribd​. See also ​article 90.​ Re-Enchantment​,​ co-edited by David Morgan, vol. 7 of ​The Art Seminar, ​with contributions by Thierry de Duve, Boris Groys, Wendy Doniger, Kajri Jain, and others​ ​(New York: Routledge, 2008). Contains an excerpt from ​On the Strange Place of Religion in Contemporary Art. This volume has an Envoi, later called “I​ ncoherences of the Art World​,” looking back on the series of seven books. (13–19) Series editor, ​The Stone Theory Seminars​ (University Park, PA: Penn State Press, 2008–12). Vol. 1:   Vol. 2: Vol. 3: Vol. 4: Art and Globalization​, co-edited with Zhivka Valiavicharska and Alice Kim, vol. 1 of ​The Stone Art Theory Seminars​ (University Park, PA: Penn State Press, 2010). Reviewed (in Catalan) by Loredana Niculet, ​Enrahonar​ [Department of Philosophy of the Autonomous University of Barcelona] 49, special issue on Nelson Goodman (2012): 165–67. What is an Image?​,​ co-edited with Maja Naef, vol. 2 of ​The Stone Art Theory Seminars (University Park, PA: Penn State Press, 2011). 1. Spanish translation of part of the Seminars: “Un seminario sobre la teoría de la imagen,” translated by Sergio Martínez Luna, in ​Estudios Visuales​ 7 (December 2009): 132–67. 2. Part of the​ I​ ntroduction​, in​ ​Rheinsprung 11​ ​[Basel]​,​ vol. 1, 2011. What do Artists Know?, ​ co-edited with Frances Whitehead, vol. 3 of ​The Stone Art Theory Seminars ​(University Park, PA: Penn State Press, 2012). See also the preliminary report after the conference. Beyond the Aesthetic and the Anti-Aesthetic, ​vol. 4 of ​The Stone Art Theory Seminars (University Park, PA: Penn State Press, 2013). Vol. 5: Farewell to Visual Studies, ​vol. 5 of ​The Stone Art Theory Seminars ​(University Park, PA: Penn State Press, c. 2014). (20) Editor, ​Visual Literacy​ (NY: Routledge, 2008). With contributions by W.J.T. Mitchell, Jonathan Crary, Jon Simons, and Barbara Stafford, and others. (21) Editor, ​Visual Practices Across the University​,​ with contributions by thirty-five scholars (Munich: Wilhelm Fink Verlag, 2007). This book is in English, and is available on Amazon Deutschland,​ ​here.​ 1. Excerpt from the Introduction, revised, published as “Visual Practices Across the University,” in ​Beyond Mimesis and Convention: Representation in Art and Science,​ edited by Roman Frigg and Mathhew Hunter. Boston Studies in the Philosophy of Science, vol. 262 (Dordrecht: Springer, 2010), 169–92. 2. Excerpt from the Introduction, revised, published as “Visual Practices Across the University: A Report,” in ​Imagery in the Twenty-First Century, ​edited by Oliver Grau and Thomas Veigl (Cambridge, MA: MIT Press, 2011), 149–73. (22) Editor, ​Visual Cultures​ (Bristol: Intellect Books [distributed by University of Chicago Press], 2009). Essays on visuality and literacy in different nations. (23) A ​ rtists with PhDs: On the New Doctoral Degree in Studio Art ​ First edition: Washington, DC: New Academia, 2009. Second, definitive edition, 2014. New Academia is a refereed, print-on-demand publisher available through​ A ​ mazon.​ The second edition is nearly twice the length of the first edition. This book is in turn a greatly expanded version of ​The New PhD in Studio Art​, no. 4 in the occasional series called P ​ rinted Project​ (​ Dublin: Sculptor’s Society of Ireland, 2005). One chapter in ​Printed Project,​ originally published in T​ hinking Through Art​,​ is entirely rewritten in ​Artists with PhD Degrees. 1. “Remarks on the Studio-Art PhD Around the World” (a chapter from the book) reprinted in Doctoral Writing in the Creative and Performing Arts,​ edited by Louise Ravelli et al. (Faringdon, UK: Libri, 2014), 9–32. 2. “Fourteen Reasons to Mistrust the PhD” (a chapter from the book) reprinted in Investigação em Artes: A Oscilação dos Métodos / Research in the Arts: The Oscillation of the [sic] Methods,​ edited by José Quaresma and Fernando Rosa Dias (Lisbon: Edição do Centro de Filosofia, Faculdades de Letras da Universidade de Lisboa, 2015), 217–320. (24) Co-editor, with Maria Pia Di Bella, R ​ epresentations of Pain in Art and Visual Culture​,​ in the series Routledge Advances in Art and Visual Studies (New York: Routledge, 2012).   (25) Co-editor, with Kristi McGuire, Maureen Burns, Alicia Chester, and Joel Kuennen, ​Theorizing Visual Studies: Thinking Through the Discipline​, ​(New York: Routledge, 2012). This is an anthology written entirely by graduate students from around the world. It is being developed online. 1. Abbreviated version of the introduction “An Introduction to the Visual as Argument,” in The Future of Visual Studies: Image Theory after the Pictorial Turn, ​edited by Žarko Paić and Krešimir Purgar (forthcoming, 2014). Selected book reviews, catalogues, miscellaneous Newest first. There are also 200+ book reviews, all of modern and contemporary literature, posted on ​LibraryThing and ​Goodreads​, c. 2008 - present. Review of Whitney Davis, ​A General Theory of Visual Culture​ (Princeton: Princeton University Press, 2011). An abbreviated version of this is on the CAA Reviews online site (paywall). The full version is posted on ​Philosophy Papers​. “Time and Place,” catalog essay for the exhibition ​Time and Place​ (Macroom, Co. Cork, Ireland, August 2006), 8–14. Review of Victoria Newhouse, ​Art and The Power of Placement,​ in ​New York Times Book Review (Sunday, May 8, 2005, 22). “Three Questions for the New York School,” in ​Modern American Painting From the NYU Art Collection,​ exh. cat. (Cork, Ireland: Glucksman Gallery, 2004), 11–18. Review of David Summers, ​Real Spaces,​ in ​The Art Bulletin​ 86 no. 2 (2004): 373–80. Reprinted in ​Is Art History Global? Letter on the state of art history, ​Chronicle of Higher Education,​ September 19, 2003, B4. “Visual Culture: First Draft,” review of ​Iconoclash!,​ edited by Bruno Latour and Peter Weibel, in ​Art Journal​ 62 no. 3 (2003): 104–107. Review of Alberto Manguel, ​Reading Pictures​ (Toronto: Knopf Canada, 2000), in ​Letters in Canada​ 72 no. 1 (2002–2003): 362–63. “Nine Modes of Interdisciplinarity in Visual Studies,” reply to Mieke Bal, “Visual Essentialism and the Object of Visual Culture,” ​Journal of Visual Culture​ 2 no. 2 (2003): 232–37. In Spanish as “Nueve modelos de interdisciplinareidad para los estudios visuales,” ​Estudios visuales, ​edited by José Luis Brea​ ​2 (December 2004), ​online​ [Spanish]. “Rapatronic Photographs of Atomic Tests,” in ​After and Before: Documenting the A–Bomb​ (New York: PPP Editions, 2003). Review of David Hockney, ​Secret Knowledge​ (New York: Viking, 2001), on the password-protected College Art Association review site. Review of the N.Y.U. conference on David Hockney’s book ​Secret Knowledge,​ in ​Circa​ 99 (spring 2002): 38–39. O ​ nline​. “Who Owns Images: Science or Art?” review of an MIT conference, “Image and Meaning,” June 2001, in ​Circa​ 97 (2001): 36–37, o ​ nline​. James Elkan [sic], “The Transcendence of Art: An Essay on the Epileptic Autistic Pakistani Artist Sadia Sheikh, and Her Great– Great– Great– Grandfather,” exh. cat. (Lahore, Pakistan: Lahore Businessmen Association for Rehabilitation of Disabled, 2002). “Renouncing Representation,” essay in ​Marco Breuer: Tremors, Ephemera​,​ exh. cat. (New York: Roth Horowitz, 2000). Review of ​Picturing Science, Producing Art,​ edited by Caroline Jones and Peter Galison, in ​Isis​ 97 no. 9 (2000): 318–19. (Version truncated by ​Isis.​) Review of ​Theories of Art Today, ​edited by Noël Carrol, ​Journal of Aesthetic Education​ 35 no. 2 (2001): 119–21. Review of Steven Mansbach, ​Modern Art in Eastern Europe,​ in ​The Art Bulletin​ 82 no. 4 (2000): 781–85. “Response [to Anthony Alofsin’s letter regarding the review of Mansbach’s ​Modern Art in Eastern Europe​],”​ Art Bulletin​ 84 (2002): 539. Review of Rosalind Krauss, ​Bachelors,​ on the password-protected College Art Association review site. Review of Hans Belting, ​The Germans and Their Art: A Troublesome Relationship,​ on the password-protected College Art Association review site. Review of Thomas Crow, ​The Intelligence of Art,​ on the password-protected College Art Association review site. Review of Dawn Ades, ​Dalí’s Optical Illusions, ​on the password-protected College Art Association review site. Review of Eileen Reeves, ​Painting the Heavens: Art and Sciences in the Age of Galileo​ (Princeton, 1997), in ​Zeitschrift für Kunstgeshcichte​ 62 (1999): 580–85. “Precision, Misprecision, Misprision,” Reply to Thierry de Duve, in ​Critical Inquiry​ 25 no. 1 (1998): 169–80. “Real Disquietude / Un verdadero desasosiego,” exh. cat. for Pablo Helguera, ​Estacionamientos (Parking Zones)​ (Mexico City: Talleria espacio cultural, 1998). [Spanish] Reply to LeRoy McDermott, “Self–Representation in Upper Paleolithic Female Figurines,” in ​Current Anthropology​ 37 no. 2 (1996): 255–58. “What do We Want Pictures to Be?” ​Critical Inquiry​ 22 (1996): 590–602. Reply to Mieke Bal’s response to no. 40 above. “What is Alchemical History?” ​Konsthistorisk tidskrift​ 64 no. 1 (1995): 51–53. Reply to Didier Kahn’s response to the article, no. 24 above. “Reply to Roger Malina,” ​Leonardo​ [ ]. Reply to Malina’s response to the article, no. 33 above. Review of Hal Foster, ​Compulsive Beauty​ (MIT, 1993), ​The Art Bulletin ​76 no. 3 (1994): 546–48. Reply to Ellen Handler Spitz (responding to the review, above), ​The Art Bulletin​ 77 no. 2 (1995): 342–43. “Before Theory,” review of Whitney Davis, ​Masking the Blow​ (Berkeley, 1992), ​Art History​ 16 no. 4 (1993): 647–72. Review of Barbara Stafford, ​Body Criticism​ (MIT, 1991), ​The Art Bulletin​ 74 no. 3 (1992): 517–520. Review of Martin Kemp, ​The Science of Art​ (Yale, 1990), ​Zeitschrift für Kunstgeschichte​ 54 no. 4 (1991): 597–601. “Signs of Religion,” exh. cat., School of the Art Institute of Chicago, Gallery 2, fall 1991. “Castillon’s Problem,” ​Journal of Recreational Mathematics ​22 no. 3 (1991), 224.   Interviews, published letters Newest first. See also secondary sources, below. Interview with Nicole Sansone for ​Full Stop​,​ April 2015. Interview with Claire Brandon​, for an Institute of Fine Arts lecture series, March 2015. Interview with Natalia Calderón, on the PhD, in her PhD thesis, “"Breaking the artistic, perturbing the pedagogical. Artistic Research as a social space of knowledge production,” Barcelona University, 2015. Interview​ on ​How to Use Your Eyes, ​c. 2010. “Das Ende des Schreibens über Kunst,” interview with Ruedi Widmer, in ​Laienherrschaft: 18 Exkurse zum Verhlältnis von Künsten und Medien​ (Berlin: Diaphenes, 2014), 71–85. Interview with Stephen Knudsen, on ​Artpulse​ ​(January, 2014): 26–30 and online. “Was bedeutet Globalkunst in der Praxis?” ​Kunstforum International​ 220 (March 2013): 90–91. “I​ ntervjuu: prof James Elkinsiga: kümme põhjust visuaalkultuuri uurimiseks​,” interview in Estonian with Peeter Linnap (2005), in Linnap, ​Silmakirjad 4, Intervjuud visuaalkultuuri intellektuaalidega, 1992-2010​ (Tartu: Kõrgem Kunstikool, 2011 [2012]), 167–74. “El gobierno de la imagen,” interview in Spanish with Anna Maria Guasch, ​Exit Book, Revista semestral de libros de arte y cultura visual​ ​16 (2012): 8–21. “Sieben Fragen über Kunst als Forschung / Seven Questions on Arts as Research” (in German and English), T​ exte zur Kunst​, ​special issue on art as research, 82 (2011): 86–91. “E​ ntrevista com James Elkins​,” conducted in Lisbon by Afonso Ramos, Joana Cunha Leal and Mariana Pinto dos Santos, in ​Museus e Investigação ​no. 8 (2011): 9–24. (In English, brief preface in Portuguese.) “The Shifting Condition of Art Discourse,” interview with Loredana Niculet, in​ ​Disturbis​, 2010. “Co-Optation and Criticality: A Discussion and Resource: James Elkins and Johny ML Debate the Politics of the Art Market and the Function of Art Criticism,” ​Dreaming in Public, ​edited by Brian Curtin (Bangkok: Gallery Soulflower, 2009), 145–51. This is abridged from a series of emails. Letters to James Cahill (“The Cahill-Elkins Exchange”), in ​Stones From Other Mountains​, edited by Jason Kuo (Washington, DC: New Academia, 2009), 119–66. Other essays in this book are listed under C ​ hinese Landscape Painting as Western Art History and ​Is Art History Global?. “Who Really Needs Art PhDs?” interview with Elpida Karaba, ​Boot Print​ 2 no. 2 (December 2008 [2009]): 11. (Special issue on art academies.) “E.H. Gombrich: Changing the Way We See,” interview with Julie Copeland, ABC (Australian radio), 6 July 2008; transcript​ online.​ “A ​ rt Education is Radically Undertheorized​,” ​The Thing Hamburg: Plattform für Kunst und Kritik, conducted at Dundee Contemporary Arts, Visual Research Centre, May 17th, 2008, with Cornelia Sollfrank. Poster h ​ ere​; also published in the book W ​ hat’s Next?​ ​(2015). “Stupore Crescente / Growing Amazement,” interview with Lilia Ambrosi, in ​Emozione e Sorpresa / Emotion and Surprise,​ special issue of the coffee magazine ​Illywords ​23 (2008): 8–12. [Italian] Interview on ​Bad at Sports​ (July 2007), posted December 2007, on the 2007 Stone Summer Theory Institute:​ ​badatsports.com.​ Minna Törmä, “Miten kirjoittaa taiteesta globaalissa maailmassa?” T​ aida​ 3 (2007): 16-18. [Finnish] Interview, with David Morgan, on religion and art, on ​Bad at Sports,​ April 2007, p ​ odcast.​ Giulio Brotti, “L’arte di piangere, un lusso ormai per pochi,” ​L’eco di Bergamo​ (March 14, 2007), 30. [Italian] “Distance and Drawings, Four Letters from a Correspondence between James Elkins and John Berger,” in ​Berger on Drawing,​ edited by Jim Savage (Aghabullogue, Co. Cork, Ireland: Occasional Press), 105–18. Available​ h ​ ere​. (a) Spanish translation: “Distancia y dibujos,” in ​John Berger: Sobre el dibujo​, translated by Pilar Vázquez (Barcelona: Gustavo Gili, 2011), 91–108. (b) Norwegian translation: “Avstand og tegning: Fire brev fra en korrespondanse mellom James Elkins og John Berger,” ​Prisme: Tegning fra 1990 til 2012, ​edited by Gavin Jantjes (Oslo: Nasjonalmuseet for Kunst, Arkitektur og Design, 2012), 73–80. Interview on ​Bad at Sports,​ posted January 2007, ​podcast​.   “W ​ hy Art Cannot be Taught​,” conversation with Maud Cotter, Jan Verwoert, and others, held at Cork Caucus, Cork, Ireland, 2005, in ​Cork Caucus: On Art, Possibility, and Democracy​ ([Cork]: National Sculpture Factory and Revolver, 2006), 247–59. ISBN 3-86588-335-4, 978-3-86588-335-3. Matthew Nash, online interview, posted January 24, 2006. Available h ​ ere​. Robert Williams, [essay on my work], in ​Art: Key Contemporary Thinkers,​ edited by Diarmuid Costello and Jonathan Vickery (forthcoming, 2008). Luigi Prestinenza, interview for CPA, Channelbeta, Canale d’Informazione sull’Architettura Contemporanea, September 2004. [Italian] Robert Lozar, “In popolnoma pozabim, kdo sem / And I Completely Forget Who I Am,” ​Likovne Besede (Ljubljana) 63–64 (2003) 81–93. [Slovenian] Deanna Isaacs, “Critical Condition [interview about ​The Visual Art Critic​],” ​Chicago Reader​ (December 6, 2002), section 2, p. 22. Tom Valeo, “In the Eye of a Ruthless Beholder: James Elkins Sees Where Artists Go Wrong,” ​Citytalk [Chicago], April 1, 2002. Interview about ​Pictures and Tears​,​ on the NPR program “The Connection,” December 13, 2001. Interview about H ​ ow to Use Your Eyes​,​ on the NPR program “The Connection,” February 7, 2001. Margaret Corcoran, “Open to Criticism,” ​Circa ​94 (2000): 26–29, online ​here​. Rick Kogan, “20/20 Insight: An Art Institute Professor Finds Worlds of Meaning in the Mundane,” Chicago Tribune Sunday Magazine,​ cover story, 8 October 2000. Scott Heller, “A Maverick Art Historian Examines his Field’s Idiosyncrasies and Blind Spots,” ​Chronicle of Higher Education​ (June 25, 1999): A17–18. Tamara Bissell, “Interview with James Elkins,” ​Umeni ​(Prague) 46 no. 1–2 (1998): 145–52. Completed Book Manuscripts The Surface of the Body, Based on the Work of Michelangelo Buonarroti​, 400 pp. in MS., 300 illus. Completed October 1987. In hibernation. Selected lectures, colloquia, visiting lectureships, etc. Newest last. With a couple of exceptions I haven’t added to list since c. 2005. “The Anti–Splendor: On the Failure of Theories of Pictorial Realism,” session on theory chaired by Joel Snyder, CAA, Chicago, February 1992. “Visualizing Space Before and After Computers,” joint session of the American Historical Association and the History of Science Society, chaired by Barbara Stafford, Washington, D.C., December 1992. “The Question of the Mesoamerican Body,” response to the session “Thinking Through the Mesoamerican Body,” chaired by Cecilia Klein, CAA, Seattle, February 1993. “Art History as the History of Crystallography,” Princeton University Workshop in the History of Science, session on “Scientific Knowledge as Visual Art,” Princeton, April 1993. “The Final Barrier to Theory: What can Art History Say to Studio Practice?” session on “Revisionism and the Teaching of Art History,” chaired by Martin Rosenberg, CAA, New York, February 1994. “The Limits of Interdisciplinarity,” invited lecture and workshop, Center for Creative Studies, Detroit, May 1994. “Schemata for the Schema: 17 Notes Toward a History of the Concept,” session on “Making the Visual Visible: Current Issues in Visual Practices and Science Studies,” chaired by David Kaiser, at a joint meeting of the History of Science Society, the Society for the Social Study of Science, the Philosophy of Science Association, and the Society for the History of Technology, New Orleans, October 1994. “Questions of Intersection: Positioning Replies to Art History, Aesthetics, and Philosophy,” session on “A Dialogue on Aesthetics: Exploring the Boundaries of Philosophy, Art History, and Aesthetics,” chaired by Peg Brand, CAA, San Antonio, February 1995. “​Modi​ versus ​exempla:​ Notes Toward a Classification of Renaissance Perspective Methods,” in conference on “Linear Perspective—The First Century,” chaired by Jehane Kuhn, Dibner Institute for Science and Technology, MIT, May 1995. “The Concept of Aesthetic Alienation, From an Art Historical Standpoint,” session on Jay Bernstein’s The Fate of Art,​ American Society for Aesthetics, St. Louis, October 1995. Chair, session on “The Concept of the Image in the History of Science,” CAA, Boston, February 1996. “On the Penchant for Hidden Images” and “The Puzzle Model of Meaning,” invited lecture and seminar, Duke University, fall 1995. “The Limits of Phenomenological Criticism: Metaphors in Visual Art and Medical Illustration,” paper for symposium on “Economies of the Senses,” University of Chicago, April 1996. “Why Don’t Art Historians Attend Aesthetics Conferences?” lecture at the American Society for Aesthetics, Montréal, October 1996. Posted on the ​International Yearbook of Aesthetics​,​ 2000, edited by Richard Woodfield. “On the Available Principles for Comparing Chinese and Western Painting,” session on cultural comparisons chaired by Stanley Abe, CAA, 1997. “Art History and the Limits of Phenomenology,” Colorado State University, April 1997. “Why Simple Pictures Aren’t Interesting,” SUNY Albany, April 1997. “The Concept of Appropriate Explanation,” author’s session, with commentary by Roald Hoffmann, Society for Literature and Science, Pittsburgh, November 1997. Repeated at: colloquium on visual analysis, Salt Lake City, March 1998. “Wittengstein’s Picture Theory,” invited lecture, University of South Carolina, December 1997. “There is Nothing but the Gaze,” invited lecture, colloquium on vision, Irvine, May 1998. Two weeks of invited lectures, Department of Art History and Theory, National Academy of Fine Arts, Hangzhou, China, May–June 1998. Response to Peter Galison’s ​Image and Logic,​ Society for the Sociological Study of Science, Halifax, Nova Scotia, October 1998. “Report on a Book on the History of People Who Have Cried in Front of Paintings,” Prague, Czech Republic (guest speaker in Petr Wittlich’s seminar), October 1999. Repeated at Duke University, November 2000. “What is the Difference Between the Body’s Inside and Its Outside?” Foreign keynote speaker, International symposium on representations of the body, Nichibunken, Kyoto, January 2000. A video of the lecture is available on the N ​ ichibunken site​. “On the Limits of Phenomenology in Art Historical Interpretations of the Body, ” International symposium on representations of the body, Nichibunken, Kyoto, January 2000. Repeated at the Einstein–Forum (conference “Quel corps?” co–chaired by Hans Belting), Potsdam, Germany, November 2000; University of Wisconsin at Madison, March 2001. Originally “The Inconceivable and the Unrepresentable: Skin and Membrane Metaphors from Grünewald to Sömmerring,” Columbia University Institute for Research on Women and Gender, conference on “The Material of Culture in Early Modern Europe,” chaired by Jean E. Howard, New York City, May 1994. “Optics, Skill, and the Fear of Death,” paper presented at the N.Y.U. conference on David Hockney’s book ​Secret Knowledge,​ December 2001. O ​ nline​. “The Unrepresentable: Concepts of the Sublime in Painting, Astrophysics, Genetics, and Particle Physics” (= “Representable and Unrepresentable: A Report on the Book ​Six Stories from the End of Representation​”),​ ​Sofia, Bulgaria, October 1999. Repeated at Blagoevgrad, Bulgaria; Prague, Czech Republic; and Budapest, Hungary; all October 1999; Duke University, February 2000; Gustavus Adolphus College, Minnesota, February 2000; University of Illinois at Urbana–Champaign, spring 2000; Rhodes College, Memphis, March 2000; Bucknell University, March 2000; Rhodes College, Memphis, April 2000; University of Pennsylvania, April 2000; University of Victoria, British Columbia, October 2000; University of Western Washington at Bellingham, October 2000; University of South Carolina at Columbia, November 2000; conference “Das Bild,” Berlin, Akademie der Künste, Berlin, November 2000; Stanford University, February 2001; University of Maryland at College Park, April 2001; Yale University, April 2001; Modern Art Museum, Ljubljana, January 2003; University of California at Santa Barbara, March 2005. New version given at ​Ikon​ conference, University of Ulster, Belfast, May 2005; University of South Florida, Tampa, graduate student symposium, March 2008. “How Close Can We Come to Admitting We’re Really Writing Mostly About Ourselves?” CAA session on social art history, chaired by Marc Gotlieb, Thomas Crow as respondent, February 2000. “On the Limits of Writing the Art History of Non–Western Cultures,” invited lecture, Getty Center, March 2000. Repeated at the Second Clark Conference, chaired by John Onians, April 2000; University of Washington at Seattle, October 2000; Duke University December 2000; and for Richard Vinograd’s seminar on Chinese painting, Stanford University, February 2001. “How Much of the World is Behind the Times in Painting?” CIHA conference, London, 2000, session chaired by Cao Yiqiang and Craig Clunas. Repeated at the Vancouver Art Gallery, October 2000; Bratislava, January 2003. “Two Case Studies of the ‘Two Cultures’: Transgenic Art, and Ultramicroscopy,” invited lecture, Karlsruhe, Germany, November 2000. Repeated at the University of Illinois Center for Advanced Study seminar and symposium on The Domain of Images​,​ Urbana–Champaign, April 2001. “The Most Intolerable Photos Ever Taken: A Brief History of the Chinese Photographs of ​lingchi​,” invited lecture, “The Ethics and Aesthetics of Chinese Torture,” University of Toronto, March 2001. Repeated at the University of Wisconsin, April 2001; Cranbrook Art Academy, November 2003. Modified versions given at the Edinburgh College of Art, c. 2004; Royal College of Art, London, spring 2004; University of Akron, September 2005; Cornell University, September 2005. “Parallels Between Teaching Art and Music in the Baroque,” plenary lecture, Richmond VA, April 2001. “Limits of Narrative in the Visual Arts,” invited lecture, symposium on “Narrative at the Outer Limits,” Santa Barbara, May 2001. “Two Ways of Looking at Ceramics,” keynote speech, NCECA (ceramics conference), Kansas City, March 2002. “What Is Visual Literacy? And Who Has It?”​ invited lecture, Literacy Conference, Humanities Center, Harvard University, April 2002. Repeated at MALBA, Buenos Aires, June 2002; Exploratorium, San Francisco, August 2002; Brown University / Rhode Island School of Design, October 2002; University of Vienna, January 2003; Guggenheim NYC, February 2003; Worcester State College, March 2003; University of Colorado, March 2003. The Exploratorium version is ​here​. Talks on the Visual Literacy conference and related topics: Art School, Tartu, Estonia, May 2005. New version, which is a report on the book ​Visual Practices Across the University,​ given at Lund, Göteborg, and Stockholm, February 2008; University of Dundee, May 2008. “Writing About World Art: Philosophic and Political Problems,” three invited lectures, given at Mohile Parikh Centre for the Performaing Arts in Mumbai, and at the Sanskriti Foundation in Delhi, November 2003. Revised versions repeated at University of Minnesota at Minneapolis, fall 2005; University of East Anglia, May 2006; University Stockholm, November 2006; Poznań University, November 2006; and Leiden University, November 2006. “Why Art Historians Should Paint [or Draw],” keynote speech, National Council of Arts Administrators, Memphis, November 2003. Repeated as the Peter Fuller Memorial lecture, Tate Modern, May 2004; symposium on painting, Guelph University, October 2004; Akademie der Künste, Berlin, June 2005; and at the University of Vienna, May 2006 (as part of a day-long workshop on drawing). “Problems Posed for Film Theory [by scientific images],” ​Cinema and Technology​ conference, plenary, Lancaster University, May 2005. Repeated at Medialab Prado, Madrid, May 2008. Talks on ​What Happened to Art Criticism?​: University of Illinois at Champaign–Urbana, c. 2003. Repeated at the Academy of Art, Oslo, May 2005; Dun Laoghaire, Dublin, spring 2004; Northwestern University, July 2005; Universidad Iberoamericana, October 2007; Bergen, Norway, February 2008; University of Western Ontario, London, February 2008; Leuven, Belgium, May 2008. “Two Ends of the Emblem,” plenary talk, International Society for Emblem Studies, Chicago, July 2005. “Problems with the Project ​Chinese Landscape Painting as Western Art History,”​ and debate with Jim Cahill, University of Maryland at College Park, November 2005. In reference to the b ​ ook​ of that name. “Four Models of First–Year Art Education, and Why They are Incompatible,” keynote talk, AICAD conference, Pennsylvania Academy of Fine Arts, November 2005. Repeated at RISD, October 2006; and at the Institute for Doctoral Studies in Visual Art (headed by George Smith), Spannochia, Tuscany, May 2007. “Issues Raised by the Critical Reception of ​The Object Stares Back” ​(= “How People, Sea Slugs, and Cameras See the World”), Longwood University, Farmville, Virginia, December 2005; University of Kent, May 2006; University of Lund, Sweden, February 2008. Two day-long seminars on visual studies, at the European Humanities University, Vilnius, Lithuania, January 2006. “Five Connections between Religion and Contemporary art” (= “The Strange Place of Religion in Contemporary Art”), University of Malta, May 2, 2006. A lecture on problems arising from the ​book.​ Repeated at Kraków University, November 2006; Lipscomb University, Nashville, c. 2006; University of Toronto, c. 2006; Westmont College, Santa Barbara, c. 2006; MIT, April 2007; School of the Visual Arts, New York, October 2007; Biola University, Los Angeles, March 2008. “Can Paintings [or Drawings] Think?” invited lecture, Van Eyck Academy, Maastricht, April 2006. Repeated at a conference on drawing, Tate Britain, May 2006; at the Institute for Doctoral Studies in Visual Art (headed by George Smith), Spannocchia, Tuscany, May 2007; at the Savannah College of Art and Design, November 2008; and at the University of the Arts, Philadelphia, January 2009. “Report on a Book Written Against Barthes’s ​Camera lucida,”​ invited lecture, Rodchenko School of Photography, Moscow, June 2007. Repeated at Michigan State University, Lansing, March 2008. “Farewell to Visual Studies,” AAH, Belfast, spring 2007. Repeated at the Moscow State Humanities University, June 2007; Bergen, Norway, February 2008; University of Nuevo León, Monterrey, Mexico, April 2008. “Is Art History Global?” University of Minnesota at Minneapolis, c. 2006. An initial version was given at the launch of TRIARC at Trinity College, Dublin, in 2005. Repeated as a plenary talk at the AAH, Belfast, spring 2007; some material repeated in Bogotá, Colombia, October 2008; University of Barcelona, May 2009; Global Art Museums conference, Hong Kong, May 2009; International Conference on Chinese Art Criticism, co-organized with Qigu Jiang, Beijing, May 2009. A printed version is in ​Is Art History Global?. “Limits of Landscape Theory,” Albert-Ludwigs-Universität Freiburg, November 2007. Discussion of the b ​ ook​. “​Kunstwissenschaft​ is to Art History as ​Bildwissenschaft​ is to Visual Studies,” Institute for Art History and Musicology, University of Utrecht, November 2007. Repeated in Bergen, Norway, February 2008; some material repeated in Bogotá, Colombia, October 2008. “Thoughts on the Future of Art History,” Skidmore College, NY, November 2008. Undergraduate lecture. PINC​ lecturer, Zeist, Holland, May 2009. “What is an Image? Unsolved Problems,” lecture given at the Clark Art Institute and the Institute for Cultural Inquiry (ICI), Berlin. 2012. DVD available in the ​ICI Kulturlabor series.​ Criticisms and problem raised by t​ he book.​ Forum on art critiques at Parson’s NYC, 2011, on video ​here​. Selected secondary sources—articles, reviews, etc. Robert Williams, “James Elkins,” in ​Art: Key Contemporary Thinkers,​ edited by Diarmuid Costello and Jonathan Vickery (New York: Berg / Macmillan, 2007), [ ]. Sunil Manghani, “Adventures in Subsemiotics: Towards a New ‘Object’ and Writing of Visual Culture,” Culture, Theory and Critique​ 44 no. 1 (2003): 23-36.
Academia © 2016