ABSTRACT
Focusing on the image as embodied knowledge and sensation is undoubtedly related to the challenges being levied against certain social history and anti-aesthetic postmodern positions, a discourse that has just stopped being our own. The relation is a point of intersection between art history and philosophy that remains vital, necessary, and challenging. An art history that creates with and alongside the work of art in order to recollect and transmit the forces immanent to it: namely, images and time. If an image is and constructs an opening within linear, historical time, then art history takes place only when it composes a threshold between chronology and anachronism, history and thought. Transmissibility is an approach to art and history that attempts to get at the complications of temporality, immanent movement, and the creation of sense-events that comprise the most vital artworks. “New art history” opposed formalism and connoisseurship as methodologies.
