Routledge Companion to Photography Theory

Mark Durden is an artist, writer and academic. He has written extensively on contemporary art and photography. Recent books include Fifty Key Writers on Photography (2012) and Photography Today (2014). With Ian Brown and David Campbell, Durden regularly exhibits as part of the artist group Common Culture. With Campbell he also recently co-curated a number of substantial exhibitions on art and comedy: Double Act (Bluecoat, Liverpool and the MAC, Belfast in 2016) and The Laughable Enigma of Ordinary Life (Arquipélago, centro de artes contemporâneas, São Miguel in 2017). Durden is currently Professor of Photography and Director of the European Centre for Documentary Research at the University of South Wales, UK. Jane Tormey is an Honorary Fellow of Loughborough University. Her writing focuses on the exchange of ideas between art practice and other disciplines, the conflict between aesthetics and political content, and the ways in which aesthetic traditions can be disturbed by and through photographic/filmic practices. Published work includes: "The Ghost in the Image" in Boelderl, Leisch-Kiesl (eds.) Die Zukunft gehört den Phantomen ([transcript], 2018); Photographic Realism: Late Twentieth-Century Aesthetics (2013) and Cities and Photography (2012). She is co-editor of Art, Politics and the Pamphleteer (forthcoming 2020) and the book series Radical Aesthetics-Radical Art.

• List of figuresList of platesList of contributorsIntroductionMark Durden and Jane TormeyPART I - AESTHETICS1. Feeling in photography, the affective turn, and the history of emotionsThy Phu, Elspeth H. Brown, and Andrea Noble 2. Jacques Rancière: aesthetics and photographyDavid Bate3. Ambiguity, accident, audience: Minor White’s photographic theoryTodd Cronan4. Testing humanism: the transactions of contemporary documentary photographyMark Durden5. Jeff Wall speaks with David CampanyJeff Wall and David Campany6. Deleuze and the simulacrum: simulation and semblance in Public OrderSandra Plummer7. Five versions of the photographic act: archival logic in the work of Andrea Robbins and Max BecherShep Steiner8. Jean Baudrillard’s photography—a vision of his own strange worldGerry Coulter9. Visual episodic memory and the neurophenomenology of digital photographyJill BennettPART II - POLITICS10. Seeing the public image anew: photography exhibitions and civic spectatorshipRobert Hariman and John Louis Lucaites11. Still images on the move: theoretical challenges and future possibilitiesMarta Zarzycka12. Interview with Ariella AzoulayAriella Azoulay and Justin Carville 13. Human rights practice and visual violationsRuthie Ginsburg14. Love the bomb: picturing nuclear explosionPaula Rabinowitz15. Twice captured: the work of atrocity photographyMolly Rogers16. Presenting the unrepresentable: confrontation and circumventionJane Tormey 17. The eco-anarchist potential of environmental photography: Richard Misrach and Kate Orff’s Petrochemical AmericaConohar Scott18. Counter-forensics and photographyThomas KeenanPART III - THEORIES19. Derrida and photography theoryMalcolm Barnard20. Image, affect, and autobiography: Roland Barthes’ photographic theory in light of his posthumous publicationsKathrin Yacavone21. Ideation and photography: a critique of François Laruelle’s concept of abstractionJohn Roberts22. Fractal photography and the politics of invisibilityDaniel Rubinstein23. Photographic apparatus in the era of tagshot cultureMika Elo24. Artistic representation and politics: an exchange between Victor Burgin and Hilde Van GelderVictor Burgin and Hilde Van Gelder25. Decentering the photographer: authorship and digital photographyDaniel Palmer26. Out of language: photographing as translatingNancy Ann Roth27. Habitual photography: time, rhythm, and temporalization in contemporary personal photographyMartin Hand and Ashley ScarlettIndex

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