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Photography After Conceptual Art


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Table of Contents

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 Bruckle, University of Essex).

10. Morning Cleaning: Jeff Wall and The Large Glass (Christine Conley, University of Ottawa).


About the Author

Diarmuid Costello is Associate Professor of Philosophy,University of Warwick. He co-edited (with Dominic Willsdon) TheLife and Death of Images: Ethics and Aesthetics (2008),and (with Jonathan Vickery) Art : Key ContemporaryThinkers (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 andTheory (1993); Mary Kelly, co-authored with DouglasCrimp and Homi Bhabha (1997). Writing Art History,co-authored with Stephen Melville, is forthcoming. Iversen and Costello are also Co-Directors of the AHRC researchproject "Aesthetics after Photography."


"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)

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