Table of Contents

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

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."

Reviews

"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)