Photography 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
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Includes a number of the essays with previously unpublished photographs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
Notes 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
