In this Book

summary
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.

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)




Table of Contents

  1. Title Page, Copyright
  2. pp. 1-4
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  1. Contents
  2. pp. 5-6
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  1. Introduction: Art History After Deleuze and Guattari
  2. Sjoerd van Tuinen and Stephen Zepke
  3. pp. 7-20
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  1. Remake/Remodel: Strategies of Reading Art Historians
  2. Vlad Ionescu
  3. pp. 21-42
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  1. Egon Schiele: Vitalist Deleuzian
  2. Elisabeth von Samsonow
  3. pp. 43-60
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  1. The Logic of Sensation and Logique de la sensation as Models for Experimental Writing on Images
  2. James Elkins
  3. pp. 61-68
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  1. Rhythm and Chaos in Painting: Deleuze’s Formal Analysis, Art History,and Aesthetics after Henri Maldiney
  2. Claudia Blümle
  3. pp. 69-90
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  1. Deleuze and Didi-Huberman on Art History
  2. Gustavo Chirolla and Juan Fernando Mejía Mosquera
  3. pp. 91-104
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  1. Colliding Chaoïds in Iconology
  2. Sascha Freyberg
  3. pp. 105-124
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  1. The Image and the Problem of Expression: Towards an Aesthetic Cosmology
  2. Bertrand Prévost
  3. pp. 125-144
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  1. The Late and the New: Mannerism and Style in Art History and Philosophy
  2. Sjoerd van Tuinen
  3. pp. 145-164
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  1. Tintoretto’s Michelangelo: An Artistic Diagram as the a priori of Art History
  2. Kamini Vellodi
  3. pp. 165-194
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  1. Painting Machines, “Metallic Suicide” and Raw Objects: Deleuze and Guattari’s Anti-Oedipus in the context of French Post-War Art
  2. pp. 195-216
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  1. The Buren Times
  2. Éric Alliez with the collaboration of Jean-Claude Bonne
  3. pp. 217-236
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  1. ‘A work of art does not contain the least bit of information’: Deleuze and Guattari and Contemporary Art
  2. Stephen Zepke
  3. pp. 237-254
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  1. Art’s Utopia: The Geography of Art against (its) History
  2. Antoine L’Heureux
  3. pp. 255-274
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  1. About the authors
  2. pp. 275-280
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Additional Information

ISBN
9789461662422
Print ISBN
9789462701151
MARC Record
OCLC
1028218357
Pages
280
Launched on MUSE
2018-03-13
Language
English
Open Access
N
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