内容説明
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, Woelfflin, 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
Eric Alliez (Kingston University, Universite Paris VIII), Claudia Blumle (Humboldt Universitat zu Berlin), Jean-Claude Bonne (Ecole des Hautes Etudes en Sciences Sociales), Ann-Cathrin Drews (Humboldt Universitat 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 Mejia Mosquera (Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Prevost (Universite Bordeaux Montaigne), Elisabeth von Samsonow (Akademie fur bildende Kunste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke (independent researcher)
目次
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
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