[8] In using what art historian Hal Foster describes as the "outmoded genre"[9] of cinema, Douglas' interest in "failed utopias and obsolete technologies"[10] allows for the creation of a "new medium out of the remnants of old forms. "[13], A key element in a number of Douglas' installations is the use of time and in particular, an investigation into slowed-down time or stillness. [17], Douglas' use of jazz is a more direct response to complex attitudes towards African-American music. favorite this post Jan 18 Art Bergmann – Art Bergmann CD 1991 Canada near mint $8 (Vancouver) pic hide this posting restore restore this posting. Beckett, Samuel, Stan Douglas, Linda Ben-Zvi and Clark Coolidge. "[45] The jury, including National Gallery director Sasha Suda and chief curator Kitty Scott, picked Douglas citing "the relevance of his work to the global debates taking place in Venice. A computer program then produces some 200,000 possible combinations of images and sounds, so the viewer always sees a different version of the story. [43], The National Gallery of Canada chose Douglas to represent Canada in the 2021 Venice Biennale. [35] These short narratives, set in bleak suburban locations, mimic television's editing techniques, with plots dealing often mundane situations and with a slight twist at the end. Marnie's well-rehearsed actions of walking to the washroom, returning to the desk and turning the safe's combination dial are carefully played out – but as her gloved hand runs through the combination, the film cuts back to the opening shot, panning out to a general view of the office where the workers once again prepare to leave for the day. The scene, lasting only six minutes, is filmed from twenty camera positions. Jäger, Joachim, Gabriele Knapstein, Stan Douglas and Anette Husch. Recently, Douglas has moved to photographic works which do not depict the history of the site of the narrative in an installation but rather are used as a contrast to a different work. 32, Opus 111. "[9] Douglas' preoccupation with failed utopias and the obsolete is not about a redemption of "these past events, but [a way] to reconsider them: to understand why these utopian moments did not fulfill themselves, what larger forces kept a local moment a minor moment: and what was valuable there — what might still be useful today. [42] The photographs accompanied the installation Journey into Fear (also 2001), which is based on Norman Foster's 1942 war-time thriller of the same name and its remake, shot in Vancouver in 1975 and directed by Daniel Mann. Douglas was not aware of Beckett's own work Not I, a disembodied mouth in a black screen. Synopsis. The exhibition was his first in the country and featured new abstract works, as well as an overview of past series and key iconic photographs. The soundtrack consists of Vancouver writer Gerald Creede reading Douglas's reworking of various sentences taken from the opening section of Marcel Proust's A la recherche de temps perdu. He has exhibited internationally, including Documenta IX, 1992, Documenta X, 1997, Documenta XI, 2002 and the Venice Biennale in 1990, 2001, 2005 and 2019. Cite as. The short narratives "mimic television’s editing techniques" and when the videos were aired during the regular commercial breaks, viewers called the station to ask what was being sold. Win, Place or Show (clip) (1998, 1.6 MB, 47 sec.) 4. Douglas' 1998 installation Win, Place or Show is shot in the style of the late-1960s CBC drama The Client, noted for its gritty style, long takes and lack of establishing shots. [14] Having grown up in a largely white middle-class neighbourhood in Vancouver, race was only an issue of invisibility rather than civil rights for Douglas. each. [13], Douglas has long been interested in the work of Samuel Beckett. [1], Art collector Friedrich Christian Flick, in the foreword to the Stan Douglas monograph, describes Douglas as "a critical analysis of our social reality. The absurdity of the forever repeating narrative, of the two protagonists in an endless loop, always the same words but from different points of reference is an allusion to Vladimir and Estragon in Waiting for Godot.[32]. Double Vision presents two of the most talked about video artists on the contemporary scene: Stan Douglas and Douglas Gordon. EDUCATION 1982 Emily Carr College of Art, Vancouver, British Columbia, Canada SOLO EXHIBITIONS 2009 Stan Douglas: Klatsassin, Vancouver Art Gallery, Vancouver, British Columbia, Canada 2008 Stan Douglas: Humor, Irony and the Law, David Zwirner, New York, New York 2007 Stan Douglas… Stan Douglas presents a new video work entitled Win, Place, or Show, which is projected on a double screen and takes as its point of departure the fundamental transformation of civic space in North America during the postwar era, initiated at … Crichlow, Warren. This is a preview of subscription content. Striving for historical accuracy, Douglas undertook extensive research, collecting archival photographs and conducting interviews with witnesses and participants to recreate the scene in painstaking detail. Finally, the second man turns to him, replying, "I'm not Gary." [13] Some of the photographs reference the locations used in the original Alea film[13] tying together the themes of history and memory. Douglas frequently produces photographs that relate to his video installations. Douglas was chosen to represent Canada in the 2021 Venice Biennale. Its title points directly to the origins and history of jazz in Africa. Kunstverein Stuttgart: Stan Douglas - Werke", "The Power Plant - Stan Douglas: Entertainment - 2011-2012 - Exhibitions – The Power Plant Contemporary Art Gallery – Harbourfront Centre", "Exhibition: New Pictures 7: Stan Douglas: Then and Now — Minneapolis Institute of Art", "Acclaimed artist Stan Douglas has first solo exhibition in Ireland at IMMA", "Stan Douglas wins $50,000 Scotiabank Photo Award", "Hasselblad Foundation - Hasselblad Award Winner", "Vancouver Artist Stan Douglas Wins $100,000 Audain Prize", "The Aesthetics of the Ambient Video Experience. In 2009 Douglas completed Abbott & Cordova, 7 August 1971, a 30 by 50 foot photographic mural depicting the Vancouver Gastown Riots of 1971, which is the central focus within the atrium of the Woodward's building redevelopment in Vancouver designed by architect Gregory Henriquez.[43]. View for sale listing photos, sold history, nearby sales, and use our match filters to find your perfect home in Douglas County, WA. Stan Douglas Born 1960 in Vancouver. Inconsolable Memories (2005) is based on Tomas Gutierrez Alea's film Memorias del subdesarrollo (Memories of Underdevelopment) from 1968, updated to include references to the Mariel boatlift of 1980. [13] This interpretation of race is important, as the brief narrative involves a white man mistaking a black man for a different black man named Gary, for writer Lisa Coulthard, this is part of a larger investigation of racism as part of imperialism and cultural invisibility. The conversation flares up during a discussion of the day's horse races and the 6 minute filmed loop is repeated from different angles on a split screen, each cycle presenting ever-changing configurations of point-of-view. The vote proved elusive and civil rights began to vanish through court action. Stan Douglas Born 1960, Vancouver. [3] In 2008 he was awarded the Bell Award in Video Art. with computers replacing typewriters and carpet for '50s linoleum. Reprinted from Vancouver Art Gallery. Set in 1950s Vancouver in the Strathcona redevelopment, the installation explores the modernist notion of urban renewal with the demolition of existing architecture in favour of grids of apartment blocks. This piece is constructed as an infinitely-looping counterfactual narrative, set in a modernist social-housing unit in late-1960s Vancouver that was never in fact built. The perforated scrolls that were used to programme weaving into fabric patterns, echo the player piano scrolls. His photographic series Every Building on 100 West Hastings from 2001 is a depiction of a stretch of a run-down section of Vancouver that is about to be gentrified. In his film, Douglas deliberately disrupts convention, exposing how television and film try to retain the sense of reality by imposing an invisible 'proscenium' on the … Watson, Scott, Diana Thater, Stan Douglas and Carol J. Clover. "[26] Douglas updates the office. Stan Douglas (Canadian, born October 11, 1960) is an installation photographer and artist associated with the Vancouver School. With Peter LaCroix, Barry W. Levy. Stan Douglas – Win, Place or Show - DVblog Two men are having a discussion in a small apartment. Hoffmann and the Brothers Grimm, blues and free jazz, television and Hollywood, Karl Marx and Sigmund Freud haunt the uncanny montages of the Canadian artist."[2]. Lost time is a continuous element in his works. For writer Peter Culley, writing about two of Douglas' works in 1… The scene, lasting only six minutes, is filmed from twenty camera positions. [27] In 1991, Douglas produced Monodramas a series of short videos for television broadcasting, based on his studies of Beckett's teleplays. Exhibited for the first time at documenta 9 in 1992, Hors-champs (meaning "off-screen") is a video installation that addresses the political context of free jazz in the 1960s, as an extension of black consciousness[18] and is one of his few works to directly address race. The film is looped and when presented as an installation the film and photographs create a sense of repetition, a common feature of Douglas' work. Still from Win, Place or Show, 1998 . Still from "Win, Place or Show". EDUCATION 1982 Emily Carr College of Art, Vancouver, British Columbia, Canada SOLO EXHIBITIONS 2009 Stan Douglas: Klatsassin, Vancouver Art Gallery, Vancouver, British Columbia, Canada 2008 Stan Douglas: Humor, Irony and the Law, David Zwirner, New York, New York 2007 Stan Douglas: Klatsassin, … Win, Place or Show (1998): Cameras set up to bisect a space along two parallel axes simultaneously encompass the space in its entirety. We Asked 14 More Art-World Heavyweights. Douglas' use of photography has a different purpose than others in the Vancouver School. records of past sales at auction; sites providing examples of … Stan Douglas He reenacts historical moments of tension that connect local histories to broader social movements of struggle and utopian aspiration. Stan Douglas’ work would seem to lend itself particularly well as the fundamentally manipulative character of spatial enactment is seen here in the sense of an intellectual reflection on the content of the work. Stan Douglas Born 1960, Vancouver. Win, Place or Show Stan Douglas Art Funded 2000 Vendor David Zwirner. make and model ... Stan Douglas Betamax Tape Video Art 1998 "Win, Place or Show" $100 (Vancouver) pic hide this posting restore restore this posting. Video still from Stan Douglas, Win, Place or Show (1998). Stan Douglas. New York", p. 260, Walls, "Stan Douglas's performance of contested space in Vancouver's Downtown Eastside", p. 1, Memorias del subdesarrollo (Memories of Underdevelopment), "Stan Douglas to Represent Canada at the 2021 Venice Biennale", Stan Douglas wins Bell Award in Video Art, "Open access journal for Film and Television Studies", Media Art Net | Douglas, Stan: Monodramas, "Stan Douglas YYZ Lecture January 9, 1989", "Media Art Net - Douglas, Stan: Monodramas", "Gleaning the Future from the Gallery Floor", "NFB's Circa 1948 project at Tribeca Film Festival", "Vancouver artist Stan Douglas to represent Canada at 2021 Venice Biennale", "Württ. ", https://en.wikipedia.org/w/index.php?title=Stan_Douglas&oldid=992034118, Emily Carr University of Art and Design alumni, Articles lacking reliable references from January 2019, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Douglas, Stan, Boris Groys, Isabel Zürcher, Peter Pakesch and Terence Dick. Slide projection for 120 black-and-white slides, one music roll. Stan Douglas (Canadian, born October 11, 1960) is an installation photographer and artist associated with the Vancouver School. Barry's Feature Films include A&E's Emmy Award winning Flight 93 (2006), Scary Movie 4 (2006), Riding the Bullet (2004), by Stephen King the seasonal favorite Christmas at Dollywood (2019), The Ex (1996), The Risen (2003), and international video artist Stan Douglas' Win, Place, or Show (1998) which was screened at every major museum and visual arts establishment in the world including The Museum of … Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. 3 wind machines (2 lp/ 1 diesel) Minimum 24 hr notice to show. Courtesy of the artist and David Zwirner, New York/London. Vancouver: Vancouver Art Gallery, 1999, 111 5. "[34], Douglas's Monodramas are ten 30- to 60-second videos from 1991, conceived as interventions into commercial television, broadcast nightly in British Columbia for three weeks in 1992. Stan Douglas. Over 10 million scientific documents at your fingertips. Two-channel video installation, colour, sound, 204,023 variations with an average duration of 6 min. This version is shot in black and white, which gives it the feel of a recollected experience, and Douglas has slowed the action, bringing Marnie's inherent voyeurism into focus. [13], Douglas has reworked films such as Alfred Hitchcock's Marnie (1964), Dario Argento's Suspiria (1977) and Orson Welles's Journey into Fear (1943) exploring "the parameters, functions and limits of cinematic adaptation. The soundtrack consists of Vancouver writer Gerald Creede reading Douglas's reworking of various sentences taken from the opening section of Marcel Proust's A la recherche de temps perdu. ", "Gleaning the Future from the Gallery Floor. Not logged in Stan Douglas, Director: Doppelgänger. This second, often neglected task of the curator is what I am referring to here when I describe the purpose of this text as being to discuss the edges of reception. Lives and works in Vancouver. In his 1995 Art in America review Tom Eccles describes the work as "creating the effect of a recurring nightmare" as the titular character, rather than escaping is "caught in the film loop, forever trapped within the confines of the office. He works with not just photography and video, but film and television as well and his photography often addresses the history of the location of one of his installations and as well, the creation of those installations themselves. Writer Lisa Coulthard discusses Douglas' concern for this collapsing of boundaries in the essay "Uncanny Memories: Stan Douglas, Subjectivity and Cinema" stating that "although predominantly approached within the purview of fine arts, Douglas's work invites interrogation from film studies insofar as it not only utilizes the medium but also actively modifies and references the canonical texts, orientations and histories of cinema."[13]. Features a room in an apartment occupied by two men are having a discussion in great. 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