Introduction
1 Jeff Wall's Picture for Women (1979) and The Destroyed Room
(1978): colonizing the space of gendered discourse
2 Emily Carr and the legacy of Commonwealth modernism
3 Myth and the ‘home culture concept’
4 Establishing the theory and practice of a defeatured
landscape
5 1970s and the gendered spaces of the counter tradition
6 Feminist theoretical and visual challenges to modernist
representation
Conclusion
Index
Leah Modigliani is Assistant Professor of Visual Studies at Tyler School of Art at Temple University
‘This scrutiny of the shibboleths supporting “Vancouver
photo-conceptualism”, more commonly reiterated than scrutinised, is
telling. Modigliani opens up the possibility of new thinking rather
than closing it down. For this reason, and because of her confident
command of materials and sources, the book will reach the
international audience avid for writing about the Vancouver School,
its protagonists, photo-conceptualism, conceptual art of the late
’60s, feminist deconstruction, regionalism v. internationalism and
more.’
Charlotte Townsend-Gault, Professor Emeritus, Department of Art
History, Visual Art & Theory, The University of British
Columbia
‘This is a deeply researched and carefully argued account of how
avant-garde formations have continued to marginalize women’s
artistic production even during periods of feminist agitation,
though any one of the chapters could be a stand-alone reading at
the graduate level.’
Dr. Christine Conley, RACAR 44 (2019)
'Engendering an Avant-Garde insightfully expands upon earlier
critical photo-historical anthologies […] and offers compelling
evidence of the need to broaden the scope of the critical treatment
of Vancouver art history.'
Prefix Photo Magazine
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