This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process.
These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall’s strategic revival of ‘the picture’ has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art.
This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.
Table of Contents
IntroductionPart 1 – Pictures ‘Printed on the Void’1 – The Photographic Condition2 – Photography after Conceptualism3 – The Photography of Modern Life4 – Performative Pictures5 – Photography en-abyme: Towards CinematographyPart 2– The Frame6 - Picture for Women: From Manet’s Mirror to Cinema’sMobile Frame7 – Restoration: The Fugitive Condition of RepresentationPart 3– The Photographic Moment8 – Milk: Liquid Contingency and the Grid9 – A Sudden Gust of Wind (after Hokusai): The Absence of FujiConclusion
Naomi Merritt is a lecturer in contemporary art, art history, critical theory, gender studies, and visual culture at the University of South Australia.