Title Page, Copyright

pdf iconDownload PDF

pp. 1-4

Contents

pdf iconDownload PDF

pp. 5-6

read more

Introduction: Art History After Deleuze and Guattari

Sjoerd van Tuinen and Stephen Zepke

pdf iconDownload PDF

pp. 7-20

Gilles Deleuze and Félix Guattari have written extensively about art and art history, but they are no art historians. Whereas the very identity and idea of art history, as opposed to natural history, implies human subjectivity as its unchanging basis of meaning and composition, they flatly deny any interiority to history. For Deleuze...

read more

Remake/Remodel: Strategies of Reading Art Historians

Vlad Ionescu

pdf iconDownload PDF

pp. 21-42

Generically, the phrase ‘art history after Deleuze’ can mean three things. First, the phrase points to a methodology that consists of applying philosophical concepts to other fields within the humanities, like art history. This presupposes a well-known hierarchical procedure: the philosopher ‘thinks’ concepts that the art historian subsequently...

read more

Egon Schiele: Vitalist Deleuzian

Elisabeth von Samsonow

pdf iconDownload PDF

pp. 43-60

Gilles Deleuze’s recourse to the art-theoretical approach of Alois Riegl and his notions of Kunstwollen or ‘will to art,’ the endless plane, and the optic/haptic binary has often been mentioned. As Jaś Elsner emphasized, Deleuze’s heavy philosophical reconfiguration or even revitalization of Riegl’s and Worringer’s conceptual...

read more

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

James Elkins

pdf iconDownload PDF

pp. 61-68

What follows is an informal meditation on Deleuze’s book. I am mainly concerned with what might count as experimental, or otherwise innovative, writing on visual art. The habits of art history, visual studies, visual theory, and aesthetics bother me because even at their most engaging – I am thinking of recent work by Sianne...

read more

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

Claudia Blümle

pdf iconDownload PDF

pp. 69-90

Maldiney, who obtained a doctorate in both philosophy and art history, focused alongside anthropology and psychoanalysis especially on phenomenology. According to his own account, he returned to France from Germany after the war with Hegel, Husserl, and Heidegger in his backpack. (Maldiney 2007, 182-3) On the...

read more

Deleuze and Didi-Huberman on Art History

Gustavo Chirolla and Juan Fernando Mejía Mosquera

pdf iconDownload PDF

pp. 91-104

The work of Georges Didi-Huberman has rethought art history in a number of fundamental ways, and has drawn significantly on the work of Gilles Deleuze and Felix Guattari to do so. In particular, the notions of the survival (Nachleben) of the image, of the dynamogram of art history, of a non-humanist art history, and of a rhizomatic...

read more

Colliding Chaoïds in Iconology

Sascha Freyberg

pdf iconDownload PDF

pp. 105-124

In 1912 Aby Warburg gave a talk at the international conference for art history in Rome, which he himself had helped to organize. On this occasion he introduced the notion of ‘iconological analysis’ (1979, 185). Today this event is acknowledged as the birth of iconology as an art historical method (Heckscher 1967).1 In his talk...

read more

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

Bertrand Prévost

pdf iconDownload PDF

pp. 125-144

Should we be surprised if the most hackneyed kind of metaphysics found its last refuge in the artwork, or if images and aesthetic phenomena in general serve as an inexhaustible receptacle for the more established ontologies? To consider images in terms of things, if not substances; to look at aesthetic phenomena in terms of...

read more

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

Sjoerd van Tuinen

pdf iconDownload PDF

pp. 145-164

As evidenced by his readings of Aloïs Riegl and Heinrich Wölfflin, Deleuze’s interest in early art history is deeply vested in the history of style. The titles of his books alone point to two philosophical concepts for historical styles, expressionism and baroque (and indeed, there is a third, ‘Bergsonism’). In A Thousand Plateaus...

read more

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

Kamini Vellodi

pdf iconDownload PDF

pp. 165-194

What, if anything, does Deleuze’s philosophy have to offer art history? From a philosophy notoriously critical of history, and indeed almost silent about ‘art history,’ can we expect to extract anything productive at all?
I believe we can, and will explore this possible contribution through a single, and still overlooked, concept in...

read more

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

pdf iconDownload PDF

pp. 195-216

This chapter looks at some of the artistic references in Anti-Oedipus (1972) in order to elucidate the book’s indebtedness to French visual art of the time.1 Written in the aftermath of May 1968 the importance of this specific cultural environment in Paris to the book is crucial. (Wilson 2006, 436) With Anti-Oedipus Gilles Deleuze and...

read more

The Buren Times

Éric Alliez with the collaboration of Jean-Claude Bonne

pdf iconDownload PDF

pp. 217-236

At first glance, and perhaps in spite of the artist’s intentions, Daniel Buren’s oeuvre, considered over the full course of its development (for which ‘painting’ is by no means a foreign matter) could be seen as a way of pushing to its limit the break with the Painting-Form and its expression in the visible accomplished by Matisse’s cutouts...

read more

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

Stephen Zepke

pdf iconDownload PDF

pp. 237-254

Any attempt to understand Deleuze and Guattari’s relation to Contemporary artistic practices is immediately confronted with the highly variegated and dispersed field of contemporary art.1 Nevertheless, there are three aspects of contemporary art that Deleuze and Guattari (both together and alone) directly respond to: 1) the central...

read more

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

Antoine L’Heureux

pdf iconDownload PDF

pp. 255-274

Deleuze’s promotion of becoming over history is paradigmatic of his whole philosophical system, and affirmed throughout his work in many different ways. In L’Abécédaire de Gilles Deleuze he argues that it is ludicrous for historians and philosophers to tell us that revolutions fail or go wrong, as if it meant we should stop making...

read more

About the authors

pdf iconDownload PDF

pp. 275-280

Éric Alliez is Professor of the Philosophy and Creation of Contemporary Art at the University of Paris 8, and Professor of Contemporary French Philosophy at the Centre for Research in Modern European Philosophy, Kingston University, London. He is the author of many books including The Brain-Eye, New Histories...