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Phantasmagoric Places

Local and Global Tensions in the Circulation of Stan Douglas's Every Building on 100 West Hastings

Bibliographic Data

ID12910604
AuthorsG Moser (0000-0003-2846-7596, corresponding author)
Year2011
Volume4
Issue1
Pages55-72
Publication date2011-02-21
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenuePhotography and Culture (JOURNAL)
Journal identifiersISSN: 1751-4517 • E-ISSN: 1751-4525
PublisherTaylor & Francis (PUBLISHER • GB)
DOI10.2752/175145211x12899905861393
OpenAlexW2328832859
LanguageEN
Citations received1
References cited4

Stan Douglas's Every Building on 100 West Hastings (2001) represents a seamless panorama of one block of the Downtown Eastside in Vancouver, a neighborhood known as “the poorest postal code in Canada.” By documenting the block in detail, 100 West Hastings functions as critique in its local viewing context by focusing on a discrepancy in the triumphalist narrative of global capitalism; while the rest of Vancouver has recovered from deindustrialization to participate in the global economy, Douglas's image demonstrates that the Downtown Eastside has declined, becoming an anxiety-inducing foil for the city. Despite these local significances, the political impact of the image changes when viewed in other contexts, including London's Serpentine Gallery and the lobby of Toronto's McCarthy-Tétrault law firm. This article charts these divergent readings of the photograph, attending to the ways locale is understood and questioning the limitations of fine art photography as a form of social critique

Archaeology · Art · Art history · Context (archaeology · Downtown · Global city · Media studies · Narrative · Photography · Political science · Politics · Sociology · Visual arts · Art, Politics, and Modernism · History · Law · Photography and Visual Culture · Visual Culture and Art Theory

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Unique citing works1
Citations per year1
Citation span2025 - 2025 (1)
Citation velocityrecent
Highly citedNo
Citation typesNeutral: 1

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