Photography After Conceptual Art
August 2011, Wiley-Blackwell
- Selected by Choice as an Outstanding Academic Title for 2011
- Appeals to people interested in artist's use of photography and in contemporary art
- Tracks the efflorescence of photography as one of the most important mediums for contemporary art
- Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case
- Includes a number of the essays with previously unpublished photographs
- Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall
2. Auto-Maticity: Ruscha and Performative Photography (Margaret Iversen, University of Essex).
3. Ed Ruscha, Heidegger, and Deadpan Photography (Aron Vinegar, Ohio State University).
4. Subject, Object, Mimesis: The Aesthetic World of The Bechers' Photography (Sarah E. James, University of Oxford).
5. Exit Ghost: Douglas Huebler's Face Value (Gordon Hughes, Rice University).
6. Productive Misunderstandings: Interpreting Mel Bochner's Theory of Photography (Luke Skrebowski, Middlesex University).
7. Roni Horn's Icelandic Encyclopedia (Mark Godfrey, Tate Modern).
8. Thomas Demand, Jeff Wall And Sherrie Levine: Deforming 'Pictures' (Tamara Trodd, University of Cambridge).
9. Almost Merovingian: On Jeff Wall's Relation to Nearly Everything (Wolfgang Brückle, University of Essex).
10. Morning Cleaning: Jeff Wall and The Large Glass (Christine Conley, University of Ottawa).
Margaret Iversen is Professor of Art History and Theory, University of Essex. Her books include Beyond Pleasure: Freud, Lacan, Barthes (2007); Alois Riegl: Art History and Theory (1993); Mary Kelly, co-authored with Douglas Crimp and Homi Bhabha (1997). Writing Art History, co-authored with Stephen Melville, is forthcoming.
Iversen and Costello are also Co-Directors of the AHRC research project "Aesthetics after Photography."
"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)