Contents

NOTES ON CONTRIBUTORS

1 INTRODUCTION: PHOTOGRAPHY AFTER CONCEPTUAL ART

2 AUTO-MATICITY: RUSCHA AND PERFORMATIVE PHOTOGRAPHY

3 ED RUSCHA, HEIDEGGER, AND DEADPAN PHOTOGRAPHY

PHOTOGRAPHY AND THE DEADPAN

ON FACTICITY, FACTUALITY, INDIFFERENCE, AND DIFFERENCE

MOOD AND ATTUNEMENT

INDIFFERENCE AND EQUANIMITY

ON CAVELL, KEATON, AND THE ‘BEST CASE’

4 SUBJECT, OBJECT, MIMESIS: THE AESTHETIC WORLD OF THE BECHERS’ PHOTOGRAPHY

5 EXIT GHOST: DOUGLAS HUEBLER’S FACE VALUE

6 PRODUCTIVE MISUNDERSTANDINGS: INTERPRETING MEL BOCHNER’S THEORY OF PHOTOGRAPHY

FROM PRACTICE TO THEORY

DESPISING PAINTING

THREATENING THE ART IN PHOTOGRAPHY

MOVING IN VICIOUS CIRCLES

PAINTING AFTER PHOTOCONCEPTUALISM

7 RONI HORN’S ICELANDIC ENCYCLOPEDIA

INTRODUCTION: RONI HORN AND PHOTOGRAPHY AFTER CONCEPTUAL ART

A FLUID ENCYCLOPAEDIA

BECOMING

INTIMATE ACTIVITY

ICELAND IS A VERB

TO LET THE SEA LIE BEFORE ME

CODA: FROM ICELANDIC ENCYCLOPEDIA TO LIBRARY OF WATER

8 THOMAS DEMAND, JEFF WALL AND SHERRIE LEVINE: DEFORMING ‘PICTURES’

THE BODY OF PAINTING

THE BODY WITHOUT ORGANS

PHOTOGRAPHY AND ‘PICTURES’

SURFACE AS PROSTHESIS

9 ALMOST MEROVINGIAN: ON JEFF WALL’S RELATION TO NEARLY EVERYTHING

10 MORNING CLEANING: JEFF WALL AND THE LARGE GLASS

ALLEGORICAL DESIRE AND THE POLITICS OF GLASS

PHOTOGRAPHY AND THE DREAM OF MODERNITY

THE MIMETIC GAME

MEMORY AND ENIGMA

INDEX