Ulteriori informazioni
Informationen zum Autor Diarmuid Costello is Associate Professor of Philosophy, University of Warwick. He co-edited (with Dominic Willsdon) The Life and Death of Images: Ethics and Aesthetics (2008), and (with Jonathan Vickery) Art : Key Contemporary Thinkers (2007). His articles have appeared in British Journal of Aesthetics, Journal of Aesthetics and Art Criticism, Critical Inquiry, Rivista di Estetica, and Angelaki . 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." Klappentext 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and aesthetics, for which photography serves as an important test case* Includes a number of the essays with previously unpublished photographs* Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall Zusammenfassung 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. It explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case. Inhaltsverzeichnis 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 ...
Sommario
1. Introduction: Photography After Conceptual Art (Diarmuid Costello, University of Warwick and Margaret Iversen, University of Essex).
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).
Index.
Relazione
"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)
