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/Title (Four Ways of Measuring the Distance between Alchemy and Contemporary Art)
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/Subject (Alchemy has always had its ferocious defenders, and a small minority of artists remain interested in alchemical meanings and substances. In this essay I will suggest two reasons why alchemy is marginal to current visual art, and two more reasons why alchemical thinking remains absolutely central. Briefly: alchemy is irrelevant because \(1\) it is has been a minority interest from early modernism to the present, and therefore \(2\) it is outside the principal conversations about modernism and postmodernism; but alchemy is central because \(3\) it provides the best language to explain the fascination of oil paint, and \(4\) it is one of the best models for understanding the contemporary aver-sion to full logical or rational sense.)
/Keywords (alchemy; aesthetics; modern art; postmodern art)
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Four Ways of Measuring the Distance between Alchemy and Contemporary Art
James Elkins
Alchemy has always had its ferocious defenders, and a small minority of artists remain interested in alchemical meanings and substances. In this essay I will suggest two reasons why alchemy is marginal to current visual art, and two more reasons why alchemical thinking remains absolutely central. Briefly: alchemy is irrelevant because (1) it is has been a minority interest from early modernism to the present, and therefore (2) it is outside the principal conversations about modernism and postmodernism; but alchemy is central because (3) it provides the best language to explain the fascination of oil paint, and (4) it is one of the best models for understanding the contemporary aver-sion to full logical or rational sense.
alchemy
aesthetics
modern art
postmodern art
Copyright 2003 by HYLE and James Elkins
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http://www.hyle.org
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