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Dr Kamini Vellodi

Lecturer, MRes: Art Theory and Philosophy
Central Saint Martins
Kamini  Vellodi


Research interests

Deleuze/Guattari; critical intersection between philosophy, visual arts and art history; problems of art historical methodology; the temporality of art history; 16th century Italian painting.


Kamini Vellodi is an artist, writer and researcher in modern European philosophy, and lecturer in Contemporary Art Theory and Practice at Edinburgh College of Art, University of Edinburgh. Her research spans modern and contemporary continental philosophy, the philosophy and historiography of art history, and sixteenth century painting in Italy. She specialises in the philosophy of Gilles Deleuze, and her recent publications have focused on the conceptual, methodological and critical implications of Deleuze and Guattari’s work, and its philosophical lineage, for the practice of art history.

Her monograph, Tintoretto’s Difference. Deleuze, Diagrammatics and Art History, Bloomsbury Academic, was published in December 2018.

Kamini has a PhD in Philosophy from the Centre for Research in Modern European Philosophy, Middlesex University, and Postgraduate and Undergraduate degrees in Fine Art (Painting) from the Royal College of Art and Chelsea College of Art, London.

She has exhibited her work nationally and internally in the UK, Europe and India and her work is held in several private and public collections.

Kamini is an editorial board member of the journal Art History.


  • 'Tintoretto's Difference. Deleuze, Diagrammatics and Art History', Bloomsbury Academic, 2018
  • 'The Visual World of Deleuze and Guattari'. In Preparation. Edinburgh University Press.

Peer-reviewed journal articles

  • ‘Diagram. Deleuze’s augmentation of a topical notion’. Word and Image 34 (4), 2018
  • ‘Tintoretto: Cosmic Artisan’. Deleuze Studies (Forthcoming, 2019)
  • ‘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
  • ‘Tintoretto’s Time’, Art History. 38 (3), June 2015, 414-433
  • ‘Two Regimes of Fact’, Special Issue ‘Matters of Fact’, Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft, 60(1) July 2015, 103-123
  • ‘Diagrammatic Thought: Two Forms of Constructivism in C.S. Peirce and Gilles Deleuze’ Parrhesia No. 19, Spring 2014, 79-95

Book chapters

  • ‘Heinrich Von Kleist’, in Deleuze’s Philosophical Lineage Vol II. Eds. Jonathan Roffe and Graham Jones. (Edinburgh: Edinburgh University Press) (Forthcoming 2018)
  • ‘Diagrammatic Transdisciplinarity. Thought Outside Discipline’, in Deleuze and the Problem of Transdisciplinarity, ed. Guillame Collett, (London: Bloomsbury Academic, Forthcoming 2018)
  • ‘Speculation, Construction, Critique: Notions for Art History.’ In Speculative Art Histories. Ed. Sjoerd Van Tuinen (Edinburgh: Edinburgh University Press, 2017), 203-224
  • ‘Tintoretto’s Michelangelo. An Artistic Diagram as the a priori of Art History’, in Art History After Deleuze and Guattari, eds. Sjoerd Van Tuinen and Stephen Zepke (Leuven: Leuven University Press, 2017), 165-196
  • ‘Tura’s figure of St Maurelio’, in Usages de La Figure, Régimes de figuration. Eds. Laura Marin and Anca Diaconu (Bucharest: University of Bucharest Press, 2017), 171-187


  • ‘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. Art History. 41(5) 2018.
  • ‘Hallucinating Art History’. Review of Eric Alliez’s The Brain-Eye. Art History. 40 (1), February 2017, 220-224
  • ‘Working it Out’ Review of Andrew Benjamin’s Art’s Philosophical Work. Art History. 39(3), June 2016, 619-622