结论

Leah Modigliani
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引用次数: 0

摘要

对温哥华艺术画廊的强烈反对和对1989-1990年达到顶峰的温哥华学派霸权的历史证据在结论中得到了解决。不同的艺术家群体开始对这本书所反映的话语形成过程持批评态度,并变得更加直言不讳地要求将他们纳入专题讨论会,展览和批判性写作。毫无疑问,这种反弹与1986年世博会后外国投资在公寓开发和被称为“温哥华主义”的城市高档化的兴起相吻合。温哥华摄影概念主义的话语领域,建立在一个特征景观的形象上,成为国际商业上的成功,就像城市的公共空间向新自由主义资本主义的“全球”影响开放一样,确保了城市的实际特征对那些生活在那里的艺术家来说更难以接近和更昂贵的生活。
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Conclusion
The historical evidence of a backlash levied against the Vancouver Art Gallery and the perceived hegemony of the Vancouver School that reached a peak in 1989-1990 is addressed in the conclusion. Diverse groups of artists became critical of the very process of discourse formation that this book reflects upon, and became much more vocal about demanding their inclusion in symposia, exhibitions, and critical writing. Unsurprisingly this backlash dovetails with the rise of foreign investment in condominium development and urban gentrification called “Vancouverism” after Expo 86. The discursive territory of Vancouver photo-conceptualism, built upon the image of a defeatured landscape, became ensconced as an international commercial success just as the public spaces of the city were opened up to the ‘global’ reach of neoliberal capitalism, ensuring that the actual features of the city would be less accessible and more expensive to live in for those artists living there.
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Conclusion The 1970s and the gendered spaces of the counter tradition Establishing the theory and practice of a defeatured landscape Myth and the ‘home culture concept’ Jeff Wall’s Picture for Women (1979) and The Destroyed Room (1978): colonizing the space of gendered discourse
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