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Format: 1 online resource (288 p.) : , 23 B/W illustrations 7 B/W line art

ISBN: 9780748670239

Content: An immanent turn in art historyThis collection of 16 essays brings 20th-century French philosopher Henri Bergson’s work on immanence together with the latest ideas in art theory and the practice of immanent art as found in painting, photography and film. It places Bergson’s work and influence in a wide historical context and applies a rigorous conceptual framework to contemporary art theory and practice.Key Features16 essays from world-renowned art theorists, philosophers and Bergson scholarsContributors include Iris van der Tuin, Eric Alliez, Simon O’Sullivan and Howard CaygillOffers a variety of perspectives and methodological approaches that will appeal to both art theorists and practitionersExplores concepts of rhythmic duration, perception, affectivity, the body, memory and intuition – all of which were first formulated as immanent objects through the work of BergsonAbout the Contributors Eric Alliez, Professor, University of Paris 8 and Centre for Research in Modern European Philosophy, Kingston University Mark Antliff, Professor of Art History and Visual Studies, Duke University Stella Baraklianou, photographic artist and lecturer in photography, School of Art, Design and Architecture, University of Huddersfield Howard Caygill, Professor, Centre for Research in Modern European Philosophy, Kingston University Felicity Colman, Director of Studies, Media Department, Manchester School of Art, Manchester Metropolitan University James Day, PhD student, Courtauld Institute of ArtAdi Efal, Gerda Henkel post-doctoral researcher, Thomas institute of the University of CologneJae Emerling, associate professor of modern and contemporary art, College of Arts and Architecture, University of North Carolina, Charlotte Craig Lundy, Research Fellow, Institute for Social Transformation Research, University of Wollongong, Australia Charlotte de Mille, Courtauld GalleryJohn Mullarkey, Professor of Film and Television, Kingston University Simon O’Sullivan, Senior Lecturer in Art History/Visual Culture, Department of Visual Cultures, Goldsmiths College, University of London Brendan Prendeville, art historianIris van der Tuin, Assistant Professor of Gender Studies and Philosophy of Science, Utrecht University, the Netherlands Sarah Wilson, art historian and curator

Note: Frontmatter -- , Contents -- , List of Illustrations -- , Notes on Contributors -- , Introduction: Art’s Philosophy – Bergson and Immanence -- , Part I: Bergson, Art, History -- , 1. Bergson, History and Ontology -- , 2. Art History, Immanently -- , 3. Art History, Less Its Conditions of Possibility: Following Bergson’s ‘Le Possible et le réel’ -- , 4. Matisse, Bergson, Oiticica, etc. -- , 5. Bergson Before Deleuze: How to Read Informel Painting -- , 6. Revolutionary Immanence: Bergson Among the Anarchists -- , Part II: Unconditional Practice -- , 7. The Matter of the Image: Notes on Practice-Philosophy -- , 8. Pasearse: Duration and the Act of Photographing -- , 9. Duration and Rhetorical Movement -- , 10. A Diagram of the Finite-Infinite Relation: Towards a Bergsonian Production of Subjectivity -- , Part III: Immanence of the Visible -- , 11. Painting the Invisible: Time, Matter and the Image in Bergson and Michel Henry -- , 12. ‘For We Will Have Shown it Nothing’: Bergson as Non- Philosopher (of) Art -- , 13. The Untimeliness of Bergson’s Metaphysics: Reading Diffractively -- , 14. Hyperaesthesia and the Virtual -- , Afterword: An Art Historical Return to Bergson -- , Index , In English.

Language: English

DOI: 10.1515/9780748670239

URL: Co-access DOI click Walter de Gruyter

URL: https://www.degruyter.com/isbn/9780748670239

URL: Co-access DOI click Walter de Gruyter

URL: https://www.degruyter.com/isbn/9780748670239

URL: Volltext  (lizenzpflichtig)