At the crossroads of philosophy, artisticpractice, and art historyThough 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, Wlfflin, 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).Contributorsric Alliez (Kingston University, Universit Paris VIII), Claudia Blmle(Humboldt Universitt zu Berlin), Jean-Claude Bonne (cole des Hautes tudes enSciences Sociales), Ann-Cathrin Drews (Humboldt Universitt zu Berlin), JamesElkins (School of the Art Institute of Chicago), Sascha Freyberg (Max PlanckInstitute for the History of Science), Antoine l'Heureux (independentresearcher), Vlad Ionescu (Hasselt University), Juan Fernando Meja Mosquera(Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (PontificiaUniversidad Javeriana), Bertrand Prvost (Universit Bordeaux Montaigne), Elisabethvon Samsonow (Akademie fr bildende Knste Wien), Sjoerd van Tuinen (ErasmusUniversity Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke(independent researcher)

At the crossroads of philosophy, artisticpractice, and art historyThough 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, Wlfflin, 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).Contributorsric Alliez (Kingston University, Universit Paris VIII), Claudia Blmle(Humboldt Universitt zu Berlin), Jean-Claude Bonne (cole des Hautes tudes enSciences Sociales), Ann-Cathrin Drews (Humboldt Universitt zu Berlin), JamesElkins (School of the Art Institute of Chicago), Sascha Freyberg (Max PlanckInstitute for the History of Science), Antoine l'Heureux (independentresearcher), Vlad Ionescu (Hasselt University), Juan Fernando Meja Mosquera(Pontificia Universidad Javeriana), Gustavo Chirolla Ospina (PontificiaUniversidad Javeriana), Bertrand Prvost (Universit Bordeaux Montaigne), Elisabethvon Samsonow (Akademie fr bildende Knste Wien), Sjoerd van Tuinen (ErasmusUniversity Rotterdam), Kamini Vellodi (Edinburgh College of Art), Stephen Zepke(independent researcher)