Art History After Deleuze and Guattari

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, W lfflin, 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
ric Alliez (Kingston University, Universit Paris VIII), Claudia Bl mle (Humboldt Universit t zu Berlin), Jean-Claude Bonne ( cole des Hautes tudes en Sciences Sociales), Ann-Cathrin Drews (Humboldt Universit t 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 Mej a Mosquera (Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Pr vost (Universit Bordeaux Montaigne), Elisabeth von Samsonow (Akademie f r bildende K nste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke (independent researcher)

Sjoerd van Tuinen is assistant professor of philosophy at Erasmus University Rotterdam, where he is also Director of the Centre for Art and Philosophy and Co-Founder of the Erasmus Institute for Public Knowledge. 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).


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