Leah Modigliani, “Critical Plagiarism and the Politics of Creative Labor: Photographs, History, and Re-enactment,” Mapping Meaning, the Journal 3 (Fall, 2019): 86-99. In the special issue "Archives and Photography," guest edited by Nat Castañeda, Karina Aguilera Skvirsky and Trudi Lynn Smith.
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Click here to download or print a copy
Engendering an avant-garde: the unsettled landscapes of Vancouver photo-conceptualism
Manchester University Press
ISBN 978-1-5261-0119-8
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This analysis of the origins of the Vancouver School of Photo Conceptualism in the late 1960s until its development as an international success in the 1990s, offers an innovative interpretation of avant-garde practice as a discursive manifestation of settler colonialism that establishes and replicates white masculine power amongst competing social bodies in peripheral locations, thus unsettling the “spacelessness” associated with global contemporary art. Manchester University Press
Reviews:
'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
Christine Conley, "Leah Modigliani Engendering an Avant-Garde: The Unsettled Landscapes of Vancouver Photo-Conceptualism," RACAR 44, no. 1 (2019)
Spectre of the Future Accused, 2017
“Sleeping on a Volcano,” in ed. Megan Whitmarsh, special edition “Women on the Edge of Time,” Pastelegram no. 6 (Fall 2016).
Only a Foolish Opportunist Can Deny the Dark Realities of the Moment: A Presidential Address, 2016.
"The Snake and the Falcon," for Anarchist Studies 23,no. 2 (Autumn, 2015):
"Michael Snow's Visual Trickery," Prefix Photo 30 (Fall/Winter, 2014).
“The Thin Crust of the World: Patte Loper’s Dismantled Landscapes,” (Ithaca College: Handwerker Gallery, 2014).
"The Invisible Giant in the Room: Jeff Wall's Pictures of Women," Prefix Photo 28 (Fall/Winter 2013): 70-85.
“Letter to the Editor,” cmagazine 120 (Fall 2013): 8-9.
"The Vancouver Occupations of 1971," cmagazine 115 (Fall, 2012): 10-18.
Book review: Contemporary Art in North America, Black Dog Publishing, 2011. In Prefix Photo 26 (Fall-Winter, 2012).
"Collaborating on Conceptual Art: An Aesthetics of the Impossible," cmagazine 110 (Summer, 2011): 4-8.
Book review: Byproduct: On the Excess of Embedded Art Practices, ed. Marisa Jahn, YYZ Books, 2010. In Prefix Photo 23 (Spring-Summer 2011).
"Tandem Developments: The Historical Avant-Garde and Critiques of Capitalism," 2008 (unpublished).
"Painting Improved Breeds in the Age of Enlargement," 2008 (unpublished)
"Shape Shifting: The Changing Objects of Modernism and its Aftermath," Art Criticism 22, No. 2 (2007): 69-8
"Louis Vuitton and the Luxury Market After the End of Art," Art Criticism 22, No. 1 (2007): 91-104.
"Marketing the Mission: Commodifying San Francisco's Art, the 'Mission School,' and the Problem of Regionalism," www.stretcher.org, 2004.
Contemporary Art Reviews
Copyright 2020 Leah Modigliani. No reproduction allowed without permission.