Description
Book SynopsisPhotography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium. It explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case.
Trade Review"This volume is the product of both a large-scale research grant and a conference ... All the same, this book could be of interest to those teaching and studying photography in contemporary art." (International Journal of Education through Art, 2011)
"This volume is indispensable for theorists and historians of photography, as well as those concerned with post-1960s contemporary visual culture. Highly recommended. Upper-division undergraduates and above." (Choice, 1 May 2011)
Table of ContentsNotes on contributors vi
1 Introduction: Photography after conceptual art 1
Diarmuid Costello and Margaret Iversen
2 Auto-maticity: Ruscha and performative photography 12
Margaret Iversen
3 Ed Ruscha, Heidegger, and deadpan photography 28
Aron Vinegar
4 Subject, object, mimesis: The aesthetic world of the Bechers’ photography 50
Sarah E. James
5 Exit ghost: Douglas Huebler’s face value 70
Gordon Hughes
6 Productive misunderstandings: Interpreting Mel Bochner’s theory of photography 86
Luke Skrebowski
7 Roni Horn’s Icelandic encyclopedia 108
Mark Godfrey
8 Thomas Demand, Jeff Wall and Sherrie Levine: Deforming ‘Pictures’ 130
Tamara Trodd
9 Almost Merovingian: On Jeff Wall’s relation to nearly everything 153
Wolfgang Bruckle
10 Morning cleaning: Jeff Wall and The Large Glass 172
Christine Conley
Index 193
