Kamini Vellodi’s research explores intersections between modern and contemporary continental philosophy, the philosophy, theory and historiography of art history and the visual arts.
Her first book, Tintoretto’s Difference. Deleuze, Diagrammatics and Art History, (Bloomsbury, 2019) brings together her specialisms in the philosophy of Gilles Deleuze and Felix Guattari and sixteenth century Italian painting. The book combines philosophical, art historical, art theoretical and art historiographical analysis to consider the implications of Deleuze and Guattari's philosophy of diagrammatics for the understanding of Tintoretto’s works, early modern art and the discipline of art history.
She is currently working on two research projects. The first, a book titled The Visual World of Deleuze and Guattari. A Heteropaedia, (under contract with Edinburgh University Press), is the first comprehensive treatment of the visual artists, works and movements analysed by Deleuze and Guattari across the entirety of their joint and sole-authored works. The book will present a holistic analysis of the pivotal role of visual art in their thought, whilst reinventing the form and function of the 'dictionary of ideas' as a ‘heteropaedia’. This book falls within a broader project on the philosophy and history of encyclopaedias, and related genres such as ‘critical dictionaries’, that explores the nature of thinking at stake in these enterprises, the transformation of this image of thought from the 17th to the 21st century, and its appeal to and creative impact on scholars, writers and artists. As part of this research, she is working on the history of the idea of ‘polymathy’ and its critical potential for the practice of scholarship today.
The second project is a co-edited (with Prof. Aron Vinegar, University of Oslo) book titled Gray on Gray: On the Threshold of Philosophy and Art. Exploring theorisations and interpretations of the colour and concept of gray, it brings together a range of philosophical, art historical and theoretical perspectives to articulate the rich scope of problems, ideas and practices implicated by this singular (non-)colour. Taking as its starting point Hegel’s invocation, in his Philosophy of Right, of philosophy as a painting of ‘gray on gray’, the book explores the meaning of grey to philosophers, historians, theorists, writers and artists both before and after Hegel.
Vellodi is series editor of Refractions. At the Borders of Art History and Philosophy, Edinburgh University Press. This is a new series dedicated to the relations, crossings and spaces between Art History and Philosophy. She sits on the Editorial Board of Art History.
Vellodi has published a number of articles and reviews on time and art history, theories and methodologies of art history, the relation between philosophy and art history, the philosophy of diagrams, the critical implications of Deleuze and Guattari’s work and its philosophical lineage for the practice of art history, 16th century visual art, the problem of world art history, and visual artists from the 16th to the 20th centuries, in journals such as Parrhesia, Word & Image, Art History, Deleuze Studies, the Journal of Art Historiography and Zeitschrift fur Kunstgeschichte.
Recent invited lectures and keynotes include: the University of Oslo, Parsons School of Art, New York, the Royal College of Art, London, Seoul National University and the Tata Institute of Social Sciences, Mumbai.
Vellodi is a practising artist, and has exhibited and had her work collected nationally and internationally in the UK, Europe and India: ICA, London; Bloomberg Space, London; Sammlung Essl, Vienna, Asia House, London. She has also written extensively for the contemporary art press, including journals Contemporary, Modern Painters, Tate Etc, Art Review.
Kamini joined ECA in September 2016. Prior to this she lectured across departments of Art History, Visual Culture, Philosophy and Fine Art at Exeter University, Goldsmiths University of London, Kingston University, and the University of Westminster. In recent years she has been visiting lecturer at Parsons School of Art, Central Saint Martins School of Art and Design, and the Royal College of Art.
- 2012. PhD Philosophy. The Centre for Research in Modern European Philosophy, Middlesex University (supervisors: Prof. Peter Osborne; Prof. Eric Alliez)
- 2006. MA Fine Art (Painting). Royal College of Art, London
- 2003. BA Fine Art (Painting). Chelsea College of Art, London
- Editorial board member of Art History
- REF coordinator for Unit 32 (Art, Design, and History of Art)
- Referee for journals/presses including British Journal of Aesthetics, Art History, Deleuze Studies, Leuven University Press, Edinburgh University Press, Bloomsbury Academic, Palgrave Macmillan, Journal of Art Historiography.
Kamini Vellodi is a Fellow of the Higher Education Academy.
Current courses include:
- The Time of Art. Concepts of Time in the Philosophy, History, and Practice of Art. (Level 10; 3rd year UG)
- Materials and Techniques. Art History as Artistic Practice (Level 8; 1st and 2nd year UG)
In addition to her specialist subjects, Vellodi teaches across a broad range of courses in Visual Culture and studio practice in the School of Art. Her teaching is motivated by the intersections of continental philosophy, art history and art practice. She teaches at all levels of Undergraduate Visual Culture in the School of Art, MAFA Fine Art/History of Art, Postgraduate Contemporary Art Theory and Contemporary Art Practices programme. Her courses make regular use of the collections, galleries and museums in Edinburgh.
20th century continental philosophy and theory; Gilles Deleuze and Felix Guattari; the philosophy of art history, and the history and the historiography of the relations between philosophy and art history; 15-16th century Italian painting and visual arts.
- A Heteropaedia.
Peer-Reviewed Journal Articles
- ‘Tintoretto: Cosmic Artisan’. Deleuze Studies (Vol 13, Issue 2, May 2019)
- ‘Diagram. Deleuze’s augmentation of a topical notion’. Word and Image 34 (4), 2018
- ‘Unhistorical Art History: The Case of Amico Aspertini’ in ‘Newest Art History: Wohin geht die jüngste Kunstgeschichte?’ Verband österreichischer Kunsthistorikerinnen und Kunsthistoriker (VöKK) Vienna. 2017, 50-75
- ‘Diagrammatic Thought: Two Forms of Constructivism in C.S. Peirce and Gilles Deleuze’
- ‘Thought Beyond Research. A Deleuzian Critique of Artistic Research’, in Abherrant Nuptials: Deleuze and Artistic Research. Eds. Paulo d’Assis and Paolo Giudici (Leuven: Leuven University Press) (December , 2019)
- ‘Diagrammatic Transdisciplinarity. Thought Outside Discipline’, in Deleuze, Guattari, and the Problem of Transdisciplinarity , ed. Guillame Collett, (London: Bloomsbury Academic, December 2019)
- ‘Heinrich Von Kleist’, in Deleuze’s Philosophical Lineage Vol II. Eds. Jonathan Roffe and Graham Jones. (Edinburgh: Edinburgh University Press) (May 2019)
- A Timely Collection? Review of Keith Moxey and Dan Karlhom's Time in the History of Art. Temporality, Chronology and Anachrony, 2018. Journal of Art Historiography, 2019
- ‘An Eel Soup. Review of George Didi-Huberman’s The Surviving Image. Phantoms of Time and Time of Phantoms. Aby Warburg’s History of Art.’ Art History, 2018
PhD Supervision Topics
I welcome enquiries from PhD applicants interested in my specialist research areas, which include:
The philosophy of Gilles Deleuze and Felix Guattari; contemporary continental philosophy and critical theory; philosophy of art history; art historiography and methodology; new approaches to early modern visual culture; 16th century Italian visual arts, particularly the visual arts of Venice; Jacopo Tintoretto.