Douglas was chosen to represent Canada in the 2021 Venice Biennale. Vancouver: Vancouver Art Gallery, 1999, 111 5. In a lecture given at YYZ Artists' Outlet in Toronto, Douglas commented that the choice of a blues song was. Lost time is a continuous element in his works. [1], Art collector Friedrich Christian Flick, in the foreword to the Stan Douglas monograph, describes Douglas as "a critical analysis of our social reality. [29] Douglas' first project for television, Television Spots (1987–88) consisted of twelve were broadcast in Saskatoon and Ottawa during regular programming and featured short, banal scenes in open-ended narratives. "[46], Milroy, "These artists know how to rock", p. R5, Milroy, "These artists know how to rock", p. R6, Brockington, "Logical Anonymity: Lorna Simpson, Steve Mcqueen, Stan Douglas", Krajewsk, "Stan Douglas, 15 September 2007 — 6 January 2008, Staatsgalerie & Wurttembergischer", Milroy, "These artists know how to rock", p. R7, Eccles, "Stan Douglas at David Zwirner, New York, New York", Kernan, "Stan Douglas and Douglas Gordon. "[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. price. One can almost sense the craning neck of the filmmaker. 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. [13] For Coulthard, the lack of mention of race in works that feature only white performers troubles any racial reading of Douglas' work. [17][20] Free jazz often found a larger audience in Europe and was associated with politics[21] and in particular in France where it was utilized by the French Communist Party during May 1968. On one side is the "broadcast" version, a montage taken from two cameras, what would be chosen to be transmitted to the home audience. A white man passes a second man who is black, calling out to him "Gary?" A nonprofit organization, Art21’s mission is to inspire a more creative world through the works and words of contemporary artists. Triggered by punctuations on the piano scroll, images of an empty textile factory are projected above the piano. Two-channel video projection, 6 min. Stan Douglas, »Win, Place or Show«, 1998, two-channel video projection, four-channel soundtrack, 204,023 variations with an average duration of six minutes each, dimensions variable, Edition of two. Dimensions variable Stan Douglas. Canadian artist Stan Douglas's new double-screen video work, Win, Place, or Show, takes as its point of departure the fundamental transformation of civic space in North America during the postwar era of "urban renewal." Enacted simultaneously on two screens, the work’s structure suggested the possibility of coexisting experiences and realities. [15], Although race as a theme is often not a central or obvious concern of Douglas, his own identity as a Black-Canadian is often addressed through his use of music and in particular, musical idioms associated with African-American culture, such as blues and jazz. Synopsis. eral multi-screen installations (including Douglas’s Win, Place or Show [1998]): “Tellingly, many of these works do not immerse the viewer in darkness: dark space (with its mystical and mystifying atmosphere) would run counter to the focused ratio - nality and concentration needed.” 10 In Overture, darkness is not an impediment to Stan Douglas. This remembrance is an experience completely dissimilar to viewing a ramshackle house in one of Arden’s large-format chromogenic photographs or the reimagined interior of a 1950s dormitory in Douglas’s two-channel projection Win, Place or Show (1998), shot in luscious, saturated colours. A computer program then produces some 200,000 possible combinations of images and sounds, so … The piano plays bars from Beethoven's Piano Sonata No. Info about a 2007-08 exhibition: "Stan Douglas: Past Imperfect" National Art Databases and Museum Inventories: Art Fund for UK Museums Win, Place or Show, 1998 Art Market: (e.g. 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. Exhibition catalogue by Diana Augaitis. [24][25] His use of video and film, in addition to photography, as well as his specific interests in cinematic history, forms and spatial concerns set him apart from peers such as Jeff Wall. The scene, lasting only six minutes, is filmed from twenty camera positions. 4. Stan Douglas' works from the 1980s are concerned with obsolete media and their aesthetics. Payment. Douglas' work reflects the technical and social aspects of mass media, and since the late 1980s has been influenced by the work of Samuel Beckett. 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. Stan Douglas' 1998 video 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. Stan Douglas – Win, Place or Show - DVblog Two men are having a discussion in a small apartment. [41] Douglas' works, as installations: ...Trouble the material and spatial boundaries of the cinema and museum (for instance, his recent Klatsassin premiered at the 2006 Vancouver International Film Festival and then in 2007 played at the Secession Gallery in Vienna) and, perhaps more importantly, thematically disturb these distinctions as his art occupies a transitional zone that interrogates perception, narrative comprehension and modes of visual and aural storytelling. Win, Place, Or Show. 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. Douglas compares the events of World War II with the oil crisis of 1973. [16] In particular, Douglas points to the cultural prejudices which associate the "primitive" with black music, while the European musical tradition is positioned as "high culture". Stan Douglas presents a work entitled Win, Place or Show, which takes as its point of departure a fundamental transformation in the organization of North American civic space in the 1960s. Douglas frequently produces photographs that relate to his video installations. Not affiliated Lost time is a continuous element in his works. In the artist’s intricate works, time and place fold back onto themselves to create a parallax of both vision and narrative: multiple moments in history and geography are experienced by the viewer simultaneously and reconciled into a new … Courtesy of the artist and David Zwirner, New York/London. Reprinted from Vancouver Art Gallery. 32, Opus 111. Exhibition catalogue by Diana Augaitis. 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. Win, Place, Or Show ; Where to watch JustWatch. "[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. Developed in close collaboration with the artist, born in Vancouver in 1960, the book is arranged according to different potential readings of Douglas's work and his interpretations of history, film and music. 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. [19], Four American musicians, George Lewis (trombone), Douglas Ewart (saxophone), Kent Carter (bass) and Oliver Johnson (drums) who lived in France during the free jazz period in the 1960s, improvise Albert Ayler's 1965 composition "Spirits Rejoice.". Not logged in Crichlow, Warren. each. each rotation, b/w, sound, 154 slides, 88-note player piano, music roll, screen, dimensions variable | slide projection [13] Installations such as Win, Place or Show are often complemented by large-scale photographs taken of the film set, showing behind-the-scenes. [23] Although Douglas plants subtle period details in clothes, wall posters and cigarette brands, all attention is on the band — which includes among its 10 instrumentalists the Senegalese drummer Abdou Mboup, the Indian tabla player Nitin Mitta, and the American drummer Kimberly Thompson — and on the music being made. Art21 produces the Peabody Award-winning PBS-broadcast … Slide projection for 120 black-and-white slides, one music roll. Directed by Stan Douglas. (loop), color, sound. This photographic triptych is directly related to Douglas's video installation Win, Place or Show (Tate T07700) and the group of photographs, Strathcona Series (Tate P78414-P78421), and can be displayed alongside these works. Its title points directly to the origins and history of jazz in Africa. [18] What is being emphasized is a contrast between the banality of television and the radical programming that was featured at the time. Douglas' reading of Gilles Deleuze's essay "Humour, Irony and the Law" about the arbitrary nature of law and law enforcement influenced Douglas to reconstruct "forgotten incidents of social confrontation between local Vancouver police and members of the public at various times throughout the last century. Dimensions variable Stan Douglas. [12][17] The two sides of the screen present a complete document of the performance, one in which the viewer must negotiate,[12] depicting the "authorized" version but also the conditions of its production. Stan Douglas (born October 11, 1960) is an artist based in Vancouver, British Columbia. Still from Win, Place or Show, 1998 . $34,900 Est. "[38], 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. ... Stan Douglas. Canadian artist Stan Douglas's new double-screen video work, Win, Place, or Show, takes as its point of departure the fundamental transformation of civic space in North America during the postwar era of "urban renewal." [17], Luanda-Kinshasa runs for more than six hours. With Peter LaCroix, Barry W. Levy. 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. make and model ... Stan Douglas Betamax Tape Video Art 1998 "Win, Place or Show" $100 (Vancouver) pic hide this posting restore restore this posting. Planning feasibility and control are two of the ideological components that also featured in modernist town planning after the war. «Win, Place or Show». Milroy, Sarah. 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. With Peter LaCroix, Barry W. Levy. [4] Douglas is represented by David Zwirner, New York and Victoria Miro Gallery, London. [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. [44] Douglas has exhibited at the Venice Biennale previously, most recently in 2019 where he debuted the work the two-channel video installation Doppelgänger (2019), "set in an alternate present in which a solitary astronaut and her other-world counterpart each arrives 'home' to find that everything is the reverse of what she once knew. ... One of the 8 bedrooms has it's own + private bath. The scene, lasting only six minutes, is filmed from twenty camera positions. Jäger, Joachim, Gabriele Knapstein, Stan Douglas and Anette Husch. 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. Win, Place or Show clip 1998, 1.6 MB, 47 sec.Two men are having a discussion in a small apartment. 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. "[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. Stan Douglas' works from the 1980s are concerned with obsolete media and their aesthetics. [30] An early video work, Mime (the second part of Deux Devises, 1983) consisted of a close-up of Douglas' mouth in the shape of phonemes, which are then edited to sync up with the song "Preachin' Blues" by Robert Johnson. Stan Douglas. 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. Laurie Simmons, Sean Kelly, Dan Cameron, and others imagine their fantasy shows. + show 9 more... km from postal code. Works by Stan Douglas: Le Détroit Monodramas Television Spots Win, Place or Show slide installation, 6 min. Stan Douglas Staatsgalerie Stuttgart + Württembergischer Kunstverein Stuttgart Works Like Win, Place or Show (1998), Journey into Fear (2001), Suspiria (2002), and Inconsolable Memories (2005), Stan Douglas’s two most recent video installations— Klatsassin (2006) and Vidéo (2007)—count among the “recombinant narratives,” as Douglas terms his method. [31] The repetition and seemingly endless loops of the same narrative in Win, Place or Show recalls Beckett's use of repetition to point to but also undermine the "sameness" of reality. 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]. Stan Douglas (Canadian, born October 11, 1960) is an installation photographer and artist associated with the Vancouver School. Douglas' film and video installations, photography and work in television frequently touch on the history of literature, cinema and music, while examining the "failed utopia" of modernism and obsolete technologies. The aim is to describe the things that, as in the case of Stan Douglas’ above-mentioned work, ideally are not the object of observation, but rather functional elements of its effect. [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 1870s to the start of World War I, the period when African American educator Booker T. Washington was gaining prominence, was also a difficult time for African Americans. 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. Stan Douglas. Still from Win, Place or Show, 1998 . Douglas began to study Beckett's works and his next video work Panoramic Rotunda (1985) came from misremembering a line from Beckett's FIzzle No. 1998. Win, Place or Show Stan Douglas Art Funded 2000 Vendor David Zwirner. 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]. 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 … Part of Springer Nature. [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. Stan Douglas was the recipient of the 2016 Hasselblad Foundation International Award in Photography.In celebration of the honor, an exhibition of Douglas's work was presented at the Hasselblad Foundation, Gothenburg, Sweden. He has exhibited internationally, including Documenta IX, 1992, Documenta X, 1997, Documenta XI, 2002 and the Venice Biennale in 1990, 2001, 2005 and 2019. Stan Douglas, Director: Doppelgänger. A two-channel video in which the film's protagonists, Donny and Bob, talk, argue and fight in an endless loop that plays out over and over in an ever-shifting and altering array of combinations. The scene, lasting only six minutes, is filmed from twenty camera positions. From the vantage point of the curator, who invites a contemporary artist to present a work at an exhibition in order to transport a certain content with the aid of this work and who, by dint of this invitation, additionally undertakes to ›emplace‹ the art work in the setting in an adequate manner for the purpose of its presentation. The segment "I'm Not Gary" is set in a nondescript industrial strip. ... Inuit Vintage Place Mats $50 (Surrey) pic hide this posting restore restore this posting. Download preview PDF. 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. Onomatopoeia, 1985-1986 . 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 … $100. Double Vision presents two of the most talked about video artists on the contemporary scene: Stan Douglas and Douglas Gordon. McClellan was well liked by his men, but his reticence to attack the Confederacy with the full force of his army put him at odds with President Abraham Lincoln. Stan Douglas: Artwork Survey: 1990s | Art21. records of past sales at auction; sites providing examples of … and is visibly irritated at not being acknowledged. Dimensions variable Stan Douglas. [28] Developed for television, these 30- to 60-second video works were broadcast nightly in British Columbia in 1992 for three weeks. The installation Overture (1986) uses footage of a train journey through the Rocky Mountains shot between 1899 and 1901. For writer Peter Culley, writing about two of Douglas' works in 1986, Douglas situates Overture in the historical moment that the beginnings of film share with the end of the novel, when Proust's faith in the tantalizing structures of his great predecessors, Balzac and Wagner, was being undermined by the perceptive discontinuities that film helped to bring about. The other side shows the raw footage, the images not meant for public viewing, what was edited out. Two-channel video installation, colour, sound, 204,023 variations with an average duration of 6 min. 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