Art History after Deleuze and Guattari

Edited by Sjoerd Van Tuinen and Stephen Zepke, introduction by Stephen Zepke and Sjoerd Van Tuinen, and contributions by Eric Alliez, Claudia Blümle, Jean Claude Bonne, Anne-Cathrin Drews, James Elkins, Sascha Freyberg, Antoine L'Heureux, Vlad Ionescu, Juan Fernando Mejía Mosquera, Gustavo Chirolla Ospina, Bertrand Prévost, Elisabeth von Samsonow, and Kamini Vellodi

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At the crossroads of philosophy, artistic practice, and art history
Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their own philosophical work. They were dedicated modernists, inspired by the German school of expressionist art historians such as Riegl, Wölfflin, and Worringer and the great modernist art critics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuze and Guattari on mannerism and Baroque art has led to new approaches to these artistic periods, and their radical transdisciplinarity has influenced contemporary art like no other philosophy before it. Their work therefore raises important methodological questions on the differences and relations among philosophy, artistic practice, and art history. In Art History after Deleuze and Guattari international scholars from all three fields explore what a ‘Deleuzo-Guattarian art history’ could be today.

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Contributors
Éric Alliez (Kingston University, Université Paris VIII), Claudia Blümle (Humboldt Universität zu Berlin), Jean-Claude Bonne (École des Hautes Études en Sciences Sociales), Ann-Cathrin Drews (Humboldt Universität zu Berlin), James Elkins (School of the Art Institute of Chicago), Sascha Freyberg (Max Planck Institute for the History of Science), Antoine l’Heureux (independent researcher), Vlad Ionescu (Hasselt University), Juan Fernando Mejía Mosquera (Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Prévost (Université Bordeaux Montaigne), Elisabeth von Samsonow (Akademie für bildende Künste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke (independent researcher)




Introduction: Art History After Deleuze and Guattari
Sjoerd van Tuinen and Stephen Zepke

Remake/Remodel: Strategies of Reading Art Historians
Vlad Ionescu

Egon Schiele: Vitalist Deleuzian
Elisabeth von Samsonow

The Logic of Sensation and Logique de la sensation as Models for Experimental Writing on Images
James Elkins

Rhythm and Chaos in Painting: Deleuze’s Formal Analysis, Art History, and Aesthetics after Henri Maldiney
Claudia Blümle

Deleuze and Didi-Huberman on Art History
Gustavo Chirolla and Juan Fernando Mejía Mosquera

Colliding Chaoïds in Iconology
Sascha Freyberg

The Image and the Problem of Expression: Towards an Aesthetic Cosmology
Bertrand Prévost

The Late and the New: Mannerism and Style in Art History and Philosophy
Sjoerd van Tuinen

Tintoretto’s Michelangelo: An Artistic Diagram as the a priori of Art History
Kamini Vellodi

Painting Machines, “Metallic Suicide” and Raw Objects: Deleuze and Guattari’s Anti-Oedipus in the context of French Post-War Art
Ann-Cathrin Drews

The Buren Times
Éric Alliez with the collaboration of Jean-Claude Bonne

‘A work of art does not contain the least bit of information’: Deleuze and Guattari and Contemporary Art
Stephen Zepke

Art’s Utopia: The Geography of Art against (its) History
Antoine L’Heureux

About the authors

Format: Edited volume - paperback

Size: 234 × 156 × 15 mm

280 pages

ISBN: 9789462701151

Publication: November 14, 2017

Languages: English

Stock item number: 118998

Sjoerd van Tuinen is assistant professor of philosophy at Erasmus University Rotterdam, where he is also Co-Founder of the Erasmus Institute for Public Knowledge. He is (co-)editor of 'Deleuze and the Fold. A Critical Reader' (2010), 'Deleuze and the Passions' (2016), and 'Speculative Art Histories' (2017).
Stephen Zepke is an independent researcher living in Vienna. He is the author of Sublime Art: Towards an Aesthetics of the Future (2017) and Art as Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari (2005). He is the co-editor (with Simon O’Sullivan) of Deleuze, Guattari and the Production of the New (2008) and Deleuze and Contemporary Art (2010).