Books by Kamini Vellodi
Bloomsbury Academic , 2018
A provocative account of the philosophical problem of 'difference' in art history, Tintoretto's D... more A provocative account of the philosophical problem of 'difference' in art history, Tintoretto's Difference offers a new reading of this pioneering 16th century painter, drawing upon the work of the 20th century philosopher Gilles Deleuze. Bringing together philosophical, art historical, art theoretical and art historiographical analysis, it is the first book-length study in English of Tintoretto for nearly two decades and the first in-depth exploration of the implications of Gilles Deleuze's philosophy for the understanding of early modern art and for the discipline of art history. With a focus on Deleuze's important concept of the diagram, Tintoretto's Difference positions the artist's work within a critical study of both art history's methods, concepts and modes of thought, and some of the fundamental dimensions of its scholarly practice: context, tradition, influence, and fact. Indicating potentials of the diagrammatic for art historical thinking across the registers of semiotics, aesthetics, and time, Tintoretto's Difference offers at once an innovative study of this seminal artist, an elaboration of Deleuze's philosophy of the diagram, and a new avenue for a philosophical art history.
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EUP
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Journal of Art Historiography, 2022
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Speculative Art Histories
This chapter explores the values of the notions of critique, construction and speculation for the... more This chapter explores the values of the notions of critique, construction and speculation for the practice of Art History. It argues for an immanently critical and constructive art history in pace of a speculative art history. Beginning with an examination of the distinctions between speculation and critique in Kant’s philosophy, and exploring how these notions have functioned in art history’s ‘scientific image of thought’ in part through an appeal to the post-Kantian philosophy of CS Peirce, the chapter develops a constructive, immanently critical art history through Gilles Deleuze’s philosophy. Turning to a single painting by the 15th century painter Jacopo da Negroponte, it indicates some of the features of this constructivist art history, and how it might impact the task of art historical writing.
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What Artistry Can Do
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Aberrant Nuptials, 2019
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The Journal of Art Historiography, 2019
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Art History, 2021
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Speculative Art Histories, 2017
Following the recent ‘speculative turn’ in Continental philosophy, the aim of this volume is to p... more Following the recent ‘speculative turn’ in Continental philosophy, the aim of this volume is to propose a ‘counter-discourse’ of speculative approaches to art history. How could today’s materialist, realist, pragmatist, vitalist or object-oriented speculations offer alternatives to the mere complementarity of philosophy of art and art history, often based on mutual recognition and critical limitation rather than imaginative crossovers? What new intermedial methodologies for art and art historical writing do they provide? Or vice versa, how can the encounter with art induce new forms of philosophy? How do speculative concepts of time, past and contingency challenge typically modern engagements with art’s ‘history’? Is there, for example, an unexpected contemporary relevance for pre-modern, e.g. or mannerist or gothic ideas of art? Is it possible for art history to experience a work of art in its novelty beyond its historical facticity? And what is the speculative potential of works o...
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eitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 60. Heft 1, 2015
In her contribution, Kamini Vellodi reflects on the chances of a methodological shift in the disc... more In her contribution, Kamini Vellodi reflects on the chances of a methodological shift in the discipline of art history thanks to this expanded rethinking of fact by concentrating on the notion of the “pictorial fact”, or “matter of fact,” in Gilles Deleuze’s transcendental empiricism. Vellodi argues that Deleuze’s matter of fact can help us to overcome the still prevalent self-conception of art history as discipline, which has to trace historical facts, understood as given entities that “represent” already accomplished events, that provide the foundations and target for subsequent interpretation and elaboration. Following these assumptions, facts are antecedent to art historical investigations; they are seen as empirical material, independent from the art historian, something, which he or she has to collect in order to reconstruct the authentic essence of the artwork. This reductive notion of facticity in art history dominates not only the understanding of material and historical fa...
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Word & Image, 2018
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Books by Kamini Vellodi
Series Editorship by Kamini Vellodi
Papers by Kamini Vellodi