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Index
Cover
Series page
Title page
Copyright
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
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