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How do psychoanalytic, semiotic, deconstructive, and other interpretations represent works of art? What can they see, and what must they miss? In Our Beautiful, Dry, and Distant Texts, Elkins suggests that the philosophic problems posed by these questions are essentially insuperable because philosophy makes demands of visual artifacts that they can answer only by becoming mirror images of philosophic discourse.
Elkins argues that writing is what art historians produce, and, whether such writing is a transparent vehicle for the transmission of facts or an embattled forum for the rehearsal of institutional relations and constructions of history, it is an expressive medium, with the capacity for emotion and reflection.
Therefore, it needs to be taken seriously for its own sake: it is the testament of art history and of individual historians, and it is only weakened and slighted by versions of history that imagine it either as uncontrolled dissemination or as objective discovery and reporting.
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Previews available in: English
Subjects
Historiography, Art, Art, history, Art, historiographyShowing 3 featured editions. View all 3 editions?
Edition | Availability |
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1
Our Beautiful, Dry and Distant Texts: Art History as Writing
February 10, 2000, Routledge
in English
0415926637 9780415926638
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2
Our Beautiful, Dry, and Distant Texts: Art History As Writing
January 1998, Pennsylvania State University Press
Hardcover
in English
0271016302 9780271016306
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3
Our beautiful, dry, and distant texts: art history as writing
1997, Pennsylvania State University Press
in English
0271016302 9780271016306
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- Created April 29, 2008
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