ABSTRACT

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.

chapter |6 pages

Introduction

Jeff Wall and the concept of the picture

part I|57 pages

Pictures ‘printed on the void’

chapter 1|11 pages

The photographic condition

chapter 2|12 pages

Photography after conceptualism

chapter 3|7 pages

The photography of modern life

chapter 4|12 pages

Performative pictures

chapter 5|13 pages

Photography en-abyme

Towards cinematography

part II|36 pages

The frame

chapter 6|14 pages

Picture for Women

From Manet’s mirror to cinema’s mobile frame

chapter 7|20 pages

Restoration

The fugitive condition of representation

part III|95 pages

The photographic moment

chapter 8|36 pages

Milk

Liquid contingency and the grid

chapter 9|43 pages

A Sudden Gust of Wind (after Hokusai)

The absence of Fuji

chapter |3 pages

Conclusion

Photography’s negotiation of the terrain of the picture

chapter |11 pages

Epilogue

Final encounters