Aside from functioning as a mild irritant (it’s all too easy to read it as a typo), the ampersand legally appended to Iain Baxter’s name serves a conceptual end by designating others as fellow authors of his oeuvre. For Baxter&—a pioneering figure who first adopted a light-box format for photographs depicting banal streetscapes in and around Vancouver back in the ’60s—this dispersal of authorship has been almost too effective, given the signature styles of more prominent Vancouver School artists such as Jeff Wall and Roy Arden. Baxter&’s lack of recognition, particularly outside of Canada, is unfortunate, given the formal and material inventiveness he has consistently demonstrated in the course of his long career.
The themes of Baxter&’s work often center on outdated technology, the fate of refuse, and ecology in general. His installation Television Works, 1999–2006, which employs ten
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