The Object Stares Back
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Author | : James Elkins |
Publisher | : Houghton Mifflin Harcourt |
Total Pages | : 276 |
Release | : 1997 |
Genre | : Art |
ISBN | : 9780156004978 |
A study on how our eyes function with our brains examines the irrational elements of physical sight and concludes that human seeing transforms both the viewer and the object being viewed.
Author | : James Elkins |
Publisher | : |
Total Pages | : 271 |
Release | : 1996-01-01 |
Genre | : Psychology |
ISBN | : 9780684800950 |
A thoughtful study on how our eyes function with our brains examines the irrational elements of physical sight and concludes that human seeing transforms both the viewer and the object being viewed. 15,000 first printing.
Author | : James Elkins |
Publisher | : Routledge |
Total Pages | : 218 |
Release | : 2005-08-02 |
Genre | : Art |
ISBN | : 113595013X |
This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.
Author | : James Elkins |
Publisher | : Routledge |
Total Pages | : 319 |
Release | : 2007-08-20 |
Genre | : Art |
ISBN | : 1135961603 |
James Elkins's How to Use Your Eyes invites us to look at--and maybe to see for the first time--the world around us, with breathtaking results. Here are the common artifacts of life, often misunderstood and largely ignored, brought into striking focus. With the discerning eye of a painter and the zeal of a detective, Elkins explores complicated things like mandalas, the periodic table, or a hieroglyph, remaking the world into a treasure box of observations--eccentric, ordinary, marvelous.
Author | : James Elkins |
Publisher | : University of Illinois Press |
Total Pages | : 228 |
Release | : 2001-05-17 |
Genre | : Art |
ISBN | : 9780252069505 |
He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.
Author | : James Elkins |
Publisher | : Cornell University Press |
Total Pages | : 308 |
Release | : 1999 |
Genre | : Art |
ISBN | : 9780801487248 |
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" images, including those from science, technology, commerce, medicine, music, and archaeology. Such images, James Elkins asserts, can be as rich and expressive as any canonical painting. Using scores of illustrations as examples, he proposes a radically new way of thinking about visual analysis, one that relies on an object's own internal sense of organization.Elkins begins by demonstrating the arbitrariness of current criteria used by art historians for selecting images for study. He urges scholars to adopt, instead, the far broader criteria of the young field of image studies. After analyzing the philosophic underpinnings of this interdisciplinary field, he surveys the entire range of images, from calligraphy to mathematical graphs and abstract painting. Throughout, Elkins blends philosophic analysis with historical detail to produce a startling new sense of such basic terms as pictures, writing, and notation.
Author | : James Elkins |
Publisher | : |
Total Pages | : 271 |
Release | : 1996 |
Genre | : Vision |
ISBN | : |
Author | : James Elkins |
Publisher | : Routledge |
Total Pages | : 343 |
Release | : 2004-11-23 |
Genre | : Art |
ISBN | : 1135963568 |
With bracing clarity, James Elkins explores why images are taken to be more intricate and hard to describe in the twentieth century than they had been in any previous century. Why Are Our Pictures Puzzles? uses three models to understand the kinds of complex meaning that pictures are thought to possess: the affinity between the meanings of paintings and jigsaw-puzzles; the contemporary interest in ambiguity and 'levels of meaning'; and the penchant many have to interpret pictures by finding images hidden within them. Elkins explores a wide variety of examples, from the figures hidden in Renaissance paintings to Salvador Dali's paranoiac meditations on Millet's Angelus, from Persian miniature paintings to jigsaw-puzzles. He also examines some of the most vexed works in history, including Watteau's "meaningless" paintings, Michelangelo's Sistine Ceiling, and Leonardo's Last Supper.
Author | : Miguel TAMEN |
Publisher | : Harvard University Press |
Total Pages | : 207 |
Release | : 2009-06-30 |
Genre | : Art |
ISBN | : 0674044215 |
Tamen's concern is to show how inanimate objects take on life through their interpretation--notably, in our own culture, as they are collected and housed in museums. It is his claim that an object becomes interpretable only in the context of a "society of friends." Thus, he suggests, our inveterate tendency as human beings to interpret the phenomenal world gives objects not only a life but also a society.
Author | : James Elkins |
Publisher | : Cornell University Press |
Total Pages | : 344 |
Release | : 2018-10-18 |
Genre | : Art |
ISBN | : 1501723898 |
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 pictures. Elkins provides an abundantly illustrated history of the theory and practice of perspective. Looking at key texts from the Renaissance to the present, he traces a fundamental historical change that took place in the way in which perspective was conceptualized; first a technique for constructing pictures, it slowly became a metaphor for subjectivity. That gradual transformation, he observes, has led to the rifts that today separate those who understand perspective as a historical or formal property of pictures from those who see it as a linguistic, cognitive, or epistemological metaphor. Elkins considers how the principal concepts of perspective have been rewritten in work by Erwin Panofsky, Hubert Damisch, Martin Jay, Paul Ricoeur, Jacques Lacan, Maurice Merleau-Ponty, and E. H. Gombrich. The Poetics of Perspective illustrates that perspective is an unusual kind of subject: it exists as a coherent idea, but no one discipline offers an adequate exposition of it. Rather than presenting perspective as a resonant metaphor for subjectivity, a painter's tool without meaning, a disused historical practice, or a model for vision and representation, Elkins proposes a comprehensive revaluation. The perspective he describes is at once a series of specific pictorial decisions and a powerful figure for our knowledge of the world.