At the crossroads of philosophy, artisticpractice, and art history Though Gilles Deleuze and Felix Guattari were not strictly art historians, theyreinvigorated ontological and formal approaches to art, and simultaneouslyborrowed art historical concepts for their own philosophical work. They werededicated modernists, inspired by the German school of expressionist arthistorians such as Riegl, Wolfflin, and Worringer and the great modernist artcritics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuzeand Guattari on mannerism and Baroque art has led to new approaches to theseartistic periods, and their radical transdisciplinarity has influencedcontemporary art like no other philosophy before it. Their work thereforeraises important methodological questions on the differences and relationsamong philosophy, artistic practice, and art history. In Art History after Deleuze and Guattari international scholars fromall three fields explore what a Deleuzo-Guattarian art history could betoday. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).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 (independentresearcher), Vlad Ionescu (Hasselt University), Juan Fernando Mejia Mosquera(Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (Pontificia Universidad Javeriana), Bertrand Prevost (Universite Bordeaux Montaigne), Elisabethvon Samsonow (Akademie fur bildende Kunste Wien), Sjoerd van Tuinen (Erasmus University Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke(independent researcher)
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