Abstract

My essay examines Tseng Kwong Chi’s photographs of US and Canadian landscapes as a queer parody of the Western conventions associated with landscape art of the early twentieth century. Exploring the influence of Ansel Adams, Gutzon Borglum, and the Canadian Group of Seven landscape artists, I argue that Tseng’s photographs parody the eugenic ideals projected onto the settler colonial landscape.

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Additional Information

ISSN
1080-6490
Print ISSN
0003-0678
Pages
pp. 91-118
Launched on MUSE
2013-04-04
Open Access
No
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