Farewell to Visual Studies


Book Description

Each of the five volumes in the Stone Art Theory Institutes series brings together a range of scholars who are not always directly familiar with one another’s work. The outcome of each of these convergences is an extensive and “unpredictable conversation” on knotty and provocative issues about art. This fifth and final volume in the series focuses on the identity, nature, and future of visual studies, discussing critical questions about its history, objects, and methods. The contributors question the canon of literature of visual studies and the place of visual studies with relation to theories of vision, visuality, epistemology, politics, and art history, giving voice to a variety of inter- and transdisciplinary perspectives. Rather than dismissing visual studies, as its provocative title might suggest, this volume aims to engage a critical discussion of the state of visual studies today, how it might move forward, and what it might leave behind to evolve in productive ways. The contributors are Emmanuel Alloa, Nell Andrew, Linda Báez Rubí, Martin A. Berger, Hans Dam Christensen, Isabelle Decobecq, Bernhard J. Dotzler, Johanna Drucker, James Elkins, Michele Emmer, Yolaine Escande, Gustav Frank, Theodore Gracyk, Asbjørn Grønstad, Stephan Günzel, Charles W. Haxthausen, Miguel Á. Hernández-Navarro, Tom Holert, Kıvanç Kılınç, Charlotte Klonk, Tirza True Latimer, Mark Linder, Sunil Manghani, Anna Notaro, Julia Orell, Mark Reinhardt, Vanessa R. Schwartz, Bernd Stiegler, Øyvind Vågnes, Sjoukje van der Meulen, Terri Weissman, Lisa Zaher, and Marta Zarzycka.




A Portrait of the Scientist as a Young Woman


Book Description

From one of the world’s leading planetary scientists, a luminous memoir of exploration on Earth, in space, and within oneself—equal parts ode to the beauty of science, meditation on loss, and roadmap for personal resilience "Fierce, absorbing, and ultimately inspiring." —ELIZABETH KOLBERT "[A] riveting book, beautifully written." —Washington Post Named a Best Book of the Year by Christian Science Monitor and Science News Deep in the asteroid belt between Mars and Jupiter, three times farther from the sun than the Earth is, orbits a massive asteroid called (16) Psyche. It is one of the largest objects in the belt, potentially containing the equivalent of the world’s total economy in metals, though they cannot be brought back to Earth. But (16) Psyche has the potential to unlock something even more valuable: the story of how planets form, and how our planet formed. Soon we will find out, thanks to the extraordinary work of Lindy Elkins-Tanton, the Principal Investigator of NASA’s $800 million Psyche mission, and the second woman ever to be awarded a major NASA space exploration contract. The journey that brought her to this place is extraordinary. Amid a childhood of terrible trauma, Elkins-Tanton fell in love with science as a means of healing and consolation. But still she wondered, was forced to wonder: as a woman, was science “for her”? In answering that question, she takes us from the wilds of the Siberian tundra to the furthest reaches of outer space, from the Mayo Clinic, where Elkins-Tanton battled ovarian cancer while writing the Psyche proposal, to NASA’s Jet Propulsion Laboratory, where her team brought that proposal to life. A Portrait of the Scientist as a Young Woman is a beautifully-constructed memoir that explores how a philosophy of life can be built from the tools of scientific inquiry. It teaches us how to approach difficult problems by asking the right questions and truly listening to the answers—and how we may find meaning through exploring the wonders of the universe around us.




Is Art History Global?


Book Description

This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.




Our Beautiful, Dry, and Distant Texts


Book Description

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.










Why Art Cannot Be Taught


Book Description

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.