Ian Buchanan (editor) - Deleuze and the Schizoanalysis of Visual Art

Deleuze and the Schizoanalysis
of Visual Art

Schizoanalytic Applications

Our goal with this series is to broaden the base of scholars interested in Deleuze and Guattaris work. But beyond that we want to change how their work is read. While their work is already widely known and used, its use tends not to be systematic, and this is both its strength and its weakness. It is a strength because it has enabled people to pick up their work from a wide variety of perspectives, but it is also a weakness because it makes it difficult to say with any clarity what exactly a Deleuzian-and-Guattarian approach is. This has inhibited the uptake of Deleuze and Guattaris thinking in the more hard-headed disciplines such as history, politics and even philosophy. Without this methodological core, Deleuze and Guattari studies risks being simply another intellectual fashion that will soon be superseded by newer figures. Our goal here is to create that methodological core and build a sustainable model of schizoanalysis that will attract new scholars to the field. In saying this, we also aim to be at the forefront of the field by starting a discussion about the nature of Deleuze and Guattaris methodology.

Editors: Ian Buchanan, David Savat and Marcelo Svirsky

Titles in the series:

Deleuze and the Schizoanalysis of Cinema , edited by Ian Buchanan and Patricia MacCormack

Deleuze and the Schizoanalysis of Visual Art , edited by Ian Buchanan and Lorna Collins

Deleuze and the Schizoanalysis of Literature , edited by Ian Buchanan, Tim Matts and Aidan Tynan

Deleuze and the Schizoanalysis
of Visual Art

Edited by Ian Buchanan and Lorna Collins

Schizoanalytic Applications

Contents

Susan (Su) Ballard is a media art historian and curator from New Zealand. Her current research focuses on speculation, futures, networks, accidents, noise and machines in the art gallery. She edited The Aotearoa Digital Arts Reader in 2008 and in 2013 was appointed an editor of the Fibreculture Journal. In 2013 she curated Among The Machines , a major exhibition for the Dunedin Public Art Gallery. She is a senior lecturer in Art History and Contemporary Art at the University of Wollongong, Australia.

Ian Buchanan is Professor of Cultural Studies at the University of Wollongong. He is the author of the Dictionary of Critical Theory (OUP, 2010) and the founding editor of Deleuze Studies .

David Burrows is lecturer in Fine Art at Slade School of Fine Art, University College London. He is a writer and internationally exhibited artist based in London. Recent shows include Night is also a Sun , IMT Gallery, London 2012; The Diagram: Black Board Series, Banner Repeater, London/Torna Istanbul 2011; Library of Babel/In and Out of Place, Zabludowicz Collection, London 2010; Waving from Afar , Star Space, Shanghai, China 2009; Little Monsters , Artspace, Adelaide, Australia 2007; and Popnosis , Chungking Projects, Los Angeles, USA 2005. His essays have appeared in a number of journals, books, art magazines and catalogues (including in Deleuze, Guattari and the Production of the New and Deleuze and Contemporary Art as well as the journals New Left Review and Angelaki ) . He also works collaboratively, for example, with Simon OSullivan in the production of the Performance Fiction Plastique Fantastique .

Lorna Collins is a painter, critic and arts educator based in Cambridge, where she completed her PhD as a Foundation Scholar in French Philosophy, at Jesus College. She was the founder and co-organizer/curator of the trans-disciplinary Making Sense colloquia, co-editor of a series of Making Sense books, and has a forthcoming monograph on Making Sense: Art Practice and Transformative Therapeutics , with Bloomsbury. Her (Deleuzian) philosophy is guided and informed by her provocative art practice.

Andrea Eckersley is a painter who lives and works in Melbourne, Australia. When she isnt chasing around two little boys, she is teaching at RMIT and finishing a PhD in Fine Arts (Painting) at Monash University. Primarily interested in the way the body interacts with abstract shapes, Andreas work investigates the material aspects of painting with a particular focus on its surface. Andrea is also the art editor at the Deleuze Studies Journal.

jan jagodzinski is a professor in the Department of Secondary Education, University of Alberta in Edmonton, Alberta, Canada. He is the author of 11 books to date in media, visual art, visual art education and film.

Simon OSullivan is reader in Art Theory and Practice in the Department of Visual Cultures at Goldsmiths College, University of London. He has published two monographs with Palgrave, Art Encounters Deleuze and Guattari: Thought Beyond Representation (2005) and On the Production of Subjectivity: Five Diagrams of the FiniteInfinite Relation (2012), and is co-editor, with Stephen Zepke, of both Deleuze, Guattari and the Production of the New (Continuum, 2008) and Deleuze and Contemporary Art (Edinburgh University Press, 2010). He also makes art, with David Burrows, under the name Plastique Fantastique .

Plastique Fantastique is an artistic collaboration between David Burrows (lecturer in Fine Art, Slade), Simon OSullivan (reader in Art Theory and Practice, Goldsmiths) and others (the exact composition changes, depending on projects and circumstances). The practice can be understood as a mythopoetic fiction that involves an investigation into the relations between aesthetics, politics, the sacred and popular culture, conducted through the production of objects (or shrines) and installations, performances, texts, and comics. The group was formed in 2004 and has performed and exhibited widely in the UK and abroad (including: ICA, London; Tate Britain, London; Royal Academy of Arts, London; 176 Zabludowicz Collection, London; ASC Gallery, London; Tatton Biennale; Wysing Art Centre, Cambridge; Grand Union, Birmingham; Summerhall, Edinburgh; Outpost, Norwich; Apex, Portsmouth; Aliceday Gallery, Brussels; and Pratt Manhattan Gallery, New York).

Anna Powell is reader in Film and English Studies at Manchester Metropolitan University. Her interests include film/philosophy, aesthetic affect, experimental film and video. Her books include Deleuze and the Horror Film and Deleuze, Altered States and Film. She has published a wide range of articles and chapters on Deleuze, film and literature. Anna is the director of A/V webjournal and a member of the editorial board of Deleuze Studies .

Dr Jac Saorsa is a visual artist, writer, researcher and educator in art practice and philosophy. She is Director of The Broadway Drawing School in Cardiff, UK. Located primarily at the interface between visual art practice and the Medical Humanities, Jacs work embraces an eclectic mix of emotion and intellect, and is contextualized in a broad Deleuzean aesthetic. The intangible figure emerges from within tangible form through a creative process that is simultaneously constructive and deconstructive, and the intimate relation between theory and practice is a crucial and intrinsic factor.

Leon Tan (PhD) is an art and cultural historian, critic, artist and psychotherapist. He researches and publishes on contemporary art, public art, globalization, digital culture, social activism and mental health, and is a full member of the International Association of Art Critics. Tan also supervises postgraduate arts projects and maintains a small clinical practice.

Alexander Wilsons work straddles the boundary between aesthetic practice and philosophy. His forthcoming dissertation, prepared for UQAM in Montreal, Canada, investigates the relationship between aesthetics and emergence in nature, through the implicit links found in the science of complexity, computation, systems theory, chaos theory, contemporary cosmology, evolutionary aesthetics and process philosophy. He publishes on various connected topics, including the philosophies of Deleuze, Guattari, Simondon and Stiegler, as well as on speculative aesthetics. His art practice deals with related concepts in performances and installations that involve the synchronization of patterns of light and sound. As co-founder of Parabolik Guerilla Theatre, he has also directed several experimental multimedia works for the stage. As a musician and composer he is involved with the live-electronics trio K.A.N.T.N.A.G.A.N.O. , among other electroacoustic and electronic projects. He occasionally teaches media arts and theory at Concordia University in Montreal.