Master Narratives and their Discontents

by James Elkins

In this bracing engagement with the many versions of art history, James Elkins argues that the story of modernism and postmodernism is almost always told in terms of four narratives. Works of art are either seen as modern or postmodern, or praised for their technical skill or because of the politics they appear to embody. These are master narratives of contemporary criticism, and each leads to a different understanding of what art is and does. Both a cogent overview of the state of thinking about art and a challenge to think outside the art historical box, Master Narratives and their Discontents is the first volume in a series of short books on the theories of modernism by leading art historians on twentieth-century art and art criticism.

Genres: Art

204 pages, Paperback

First published August 16, 2005

About the author

James Elkins (1955 – present) is an art historian and art critic. He is E.C. Chadbourne Chair of art history, theory, and criticism at the School of the Art Institute of Chicago. He also coordinates the Stone Summer Theory Institute, a short term school on contemporary art history based at the School of the Art Institute of Chicago.

Reviews

[Steven · Rating 4 out of 5]

A work of meta-theory. As the first in the series on Theories of Modernism and Postmodernism in the Vissual Arts, Elkins establishes a foundation for further discussion. His survey of the critical literature on modernism and postmodernism--focused primarily on painting--reduces down to what he terms the four master narratives that are used to describe twentieth-century art: (1) Modernisms (2) Postmodernisms (3) Politics, and (4) Skill. These four frames of reference are discussed in detail and in the context of theories in opposition or dissent--the discontents of the title. An overarching notion in Elkins' discussion is Canon making: Who's in and who's out, as well as who gets to decide and what criteria is used in the decision making. Here it is applied to painting, yet it is all too familiar from the literary canon wars. Likewise, although Elkins' meta-theorizing is focused on art history and art criticism, his analysis applied to literature seems wholly worthwhile. His concluding puzzle is equally valid when posed to fiction instead of painting: "Why aren't there dozens of more theories of equal influence? Why is it that such a small number of models can capture the judgments that drive so many different practices? Why did a century so crowded with competing notions of painting end up generating such a small number of interpretations?" (158)

[Christopher Hurtado]

Master Narratives and Their Discontents (Theories of Modernism and Postmodernism in the Visual Arts) by James Elkins (2005)

[Sandy · Rating 3 out of 5]

A good overview. Lucid points and an easy read.

[Kay · Rating 4 out of 5]

A surprisingly digestible read.