Jae Emerling
Jae Emerling is Professor of Art History and Associate Dean of Research in the College of Arts + Architecture at the University of North Carolina, Charlotte. He is the author of Theory for Art History (Second Edition, 2019) and Photography: History of Theory (2012). He is the Reviews Editor for the Journal of Visual Culture. In 2011 he was visiting professor of contemporary art in the Faculty of Arts at the VU Amsterdam. He received his Ph.D. in art history from the University of California, Los Angeles. His latest book creates the aesthetic-historiographic concept of transmissibility. Transmissibility: Writing Aesthetic History (2023) performs a transdisciplinary philosophy of aesthetic history via the work of Gilles Deleuze and Félix Guattari, Cy Twombly, Marina Abramović, Paul Celan, Cecil Taylor, Italo Calvino, Candida Höfer, and others by focusing on the artistic and historiographic labor that differentiates artworks from other modes of creation: that is, how and why the vitality and epistemic significance of an artwork is anachronistic and futural.
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Books by Jae Emerling
http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
Download to read on...
Theory for Art History provides a concise and clear introduction to key contemporary theorists, including their lives, major works, and transformative ideas.
Written to reveal the vital connections between art history, aesthetics, and contemporary philosophy, this expanded second edition presents new ways for rethinking the methodologies and theories of art and art history. The book comprises a complete revision of each theorist; updated and trustworthy bibliographies on each; an informative introduction about the reception of critical theory within art history; and a beautifully written, original essay on the state of art history and theory that serves as an afterword.
From Marx to Deleuze, from Arendt to Rancière, Theory for Art History is designed for use by undergraduate students in courses on the theory and methodology of art history, graduate students seeking an introduction to critical theory that will prepare them to engage the primary sources, and advanced scholars in art history and visual culture studies who are themselves interested in how these perspectives inflect art historical practice.
--Marquard Smith, Founding Editor, Journal of Visual Culture
Essays by Jae Emerling
http://www.journalofvisualculture.org
The JVC Palestine Portfolio is an incredibly powerful, heartfelt, heart-wrenching, life-affirming and hopeful polyphony of reminiscences, art works, graphic designs, scholarly texts, critical writings, briefings, visual activism, petitions, and mobilisations. Thanks to Sage, it is free to access, and is available to download (and circulate widely, if you’re so inclined) on the Sage site (https://journals.sagepub.com/home/vcu) and here.
The JVC Palestine Portfolio with contributions by: Larissa Sansour, Rashid Khalidi, Mazen Kerbaj, The Mosaic Rooms, Strike MoMA, Ariella Azoulay, Danah Abdulla, Rounwah Adly Riyadh Bseiso, Hanan Toukan, Zeina Maasri, Adrian Lahoud and Jasbir K. Puar, Yoav Galai, Distributed Cognition Cooperative (Anna Engelhardt and Sasha Shestakova), Evyn Lê Espiritu Gandhi, Firas Shehadeh, Sami Khatib, Léopold Lambert/The Funambulist, Tina Sherwell, Gayatri Chakravorty Spivak, Rochelle Davis and Dan Walsh, Lina Hakim, Ariel Caine, Nida Sinnokrot/Sakiya, Yara Sharif, Visualizing Palestine, Nada Dalloul, Simone Browne, Rehab Nazzal, Lila Sharif, Oraib Toukan and Mohmoud M Alshaer, Mark Muhannad Ayyash, Omar Kholeif, Oreet Ashery, The Palestinian Museum, Kareem Estefan and Nour Bishouty, Ghaith Hilal Nassar, Adam Broomberg, Kamal Aljafari, Nicholas Mirzoeff, Palestinian Feminist Collective, W.J.T. Mitchell, Dar El-Nimer for Arts and Culture, Jill H. Casid, Macarena Gómez-Barris, Stephen Sheehi, Susan Greene, Sunaina Maira, and Shourideh C. Molavi and Eyal Weizman.
Preface:
The JVC Palestine Portfolio
Journal of Visual Culture’s Editorial Collective has a longstanding commitment to tracking and analyzing critically the continued unfolding of racialist, colonialist, and jingoistic discourses. The journal often provides a critical space wherein these discourses can be researched and debated so as to redress the social, political, and ethical injustices that continue to plague the world we share. Everything we do in this journal exists under the sign of Stuart Hall’s vital challenge: ‘We must mobilise everything [we] can find in terms of intellectual [and other] resources in order to understand what keeps making the lives we live and the societies we live in profoundly and deeply antihumane in their capacity to live with difference’.
As a Collective, then, we stand in solidarity with Palestinians against Israeli settler colonialism and the Apartheid that results from it.
Compelled to respond to the urgency of the moment instigated by the Israeli regime’s actions in Gaza in May and June 2021, which we also acknowledge as a part of the ongoing Nakbah and an extension of official policies of displacement and erasure since 1948, we sent out an email with the subject line: ‘Journal of Visual Culture for Palestine: a call to [name of recipient]’, asking for a favour, for cooperation, for a contribution. The email in full is as follows:
Download to read on...
Theory for Art History provides a concise and clear introduction to key contemporary theorists, including their lives, major works, and transformative ideas.
Written to reveal the vital connections between art history, aesthetics, and contemporary philosophy, this expanded second edition presents new ways for rethinking the methodologies and theories of art and art history. The book comprises a complete revision of each theorist; updated and trustworthy bibliographies on each; an informative introduction about the reception of critical theory within art history; and a beautifully written, original essay on the state of art history and theory that serves as an afterword.
From Marx to Deleuze, from Arendt to Rancière, Theory for Art History is designed for use by undergraduate students in courses on the theory and methodology of art history, graduate students seeking an introduction to critical theory that will prepare them to engage the primary sources, and advanced scholars in art history and visual culture studies who are themselves interested in how these perspectives inflect art historical practice.
--Marquard Smith, Founding Editor, Journal of Visual Culture
Citation: Emerling, "Transmissibility: A Mode of Artistic Research" in The Dark Precursor: Deleuze and Artistic Research, edited by Paulo de Assis and Paolo Giudici, Leuven: Leuven University Press, 2017, pp. 437-445.
two aims. First, to present a collection of articles and shorter provocation/
position pieces about the failure of contemporary architecture to address the full complex of issues engaged by visual culture studies. Second, these lines of inquiry are meant not merely to critique architecture and its discursive conceits, but rather any critique is only valid to the degree that it identifies what is significant and vital about architecture for visual culture as such. We would like to stress that this is a critical examination of architecture (as bothobject and discourse) in contemporary visual culture: its failures, blindspots,refusals, and symptoms, yes, but also its successes, minor discourses, and alternative models of practice. In short, we are most interested in discovering an ‘outside’, that is, a passage beyond ‘starchitect’ vanity/ideological projects in favor of a critical – vital – interest in architecture as a socio-cultural and historical means of transmitting unforeseen aesthetic possibilities and modes of knowledge. This requires forcing ourselves not only to think ‘architecture from the outside’ (as Elizabeth Grosz, 2001, has said), but from the inside as well because only along this fold does architecture become a plane within which visual cultures are immanently composed. It is along this fold that architecture presents its full powers: to create intervals and delays, to demarcate and cross thresholds between political and temporal blocs, to attract or magnetize disparate communities of people, and to render ontological immanence visible. In short, we want architecture to live up to its claimed singular promise, which Peter Eisenman (2001: xiii) puts this way: ‘only in architecture can the idea of an embodied and temporal virtuality be both thought and experienced.’
Gilles Deleuze’s intriguing concept of the dark precursor refers to intensive processes of energetic flows passing between fields of different potentials. Fleetingly used in Difference and Repetition, it remained underexplored in Deleuze’s subsequent work. In this collection of essays numerous contributors offer perspectives on Deleuze’s concept of the dark precursor as it affects artistic research, providing a wide-ranging panorama on the intersection between music, art, philosophy, and scholarship.
The forty-eight chapters in this publication present a kaleidoscopic view of different fields of knowledge and artistic practices, exposing for the first time the diversity and richness of a world situated between artistic research and the philosophy of Gilles Deleuze and Félix Guattari. Within different understandings of artistic research, the authors—composers, architects, performers, philosophers, sculptors, film-makers, painters, writers, and activists—map practices and invent concepts, contributing to a creative expansion of horizons, materials, and methodologies.
Contributors
VOLUME 1: Paulo de Assis, Arno Böhler, Edward Campbell, Diego Castro-Magas, Pascale Criton, Zornitsa Dimitrova, Lois Fitch, Mike Fletcher, Paolo Galli, Lindsay Gianoukas, Keir GoGwilt, Oleg Lebedev, Jimmie LeBlanc, Nicolas Marty, Frédéric Mathevet, Vincent Meelberg, Catarina Pombo Nabais, Tero Nauha, Gabriel Paiuk, Martin Scherzinger, Einar Torfi Einarsson, Steve Tromans, Toshiya Ueno, Susanne Valerie, Audronė Žukauskaitė
VOLUME 2: Éric Alliez, Manola Antonioli, Jūratė Baranova, Zsuzsa Baross, Anna Barseghian, Ian Buchanan, Elena del Río, Luis de Miranda, Lucia D’Errico, Lilija Duoblienė, Adreis Echzehn, Jae Emerling, Verina Gfader, Ronny Hardliz, Rahma Khazam, Stefan Kristensen, Erin Manning, John Miers, Elfie Miklautz, Marc Ngui, Andreia Oliveira, Federica Pallaver, Andrej Radman, Felix Rebolledo, Anne Sauvagnargues, Janae Sholtz, Mhairi Vari, Mick Wilson, Elisabet Yanagisawa
With support from
The research leading to these results has received funding from the European Research Council under the European Union's Seventh Framework Programme (FP7/2007-2013) / ERC grant agreement n° 313419.
journal, pending revisions advised by the committee and the journal’s editorial collective. Final selections will be made by a committee of IAVC and JVC board members, including Sara Blaylock (University of Minnesota Duluth), Jill Casid (University of Wisconsin Madison), Almira Ousmanova (European Humanities University), and Jae Emerling (University of North
Carolina Charlotte).