Download preview PDF. "[17] Shot in the style of 1960s French television program and using period technology,[17] the work is projected onto a screen, verso and recto. In particular, it is important to place this recent installation within the context of Douglas's recombinant works, pieces that explicitly engage with, mix and remake source texts: Journey into Fear (2001), Suspiria (2003), Le Detroit (1999),Win, Place or Show (1998), Nu.tka (1996), Subject to a Film: Marnie (1995), Der Sandmann (1995). If cinematographic grammar is one of the challenges of Stan Douglas’s work, unlike in the case of Mark Lewis, what concerns the Vancouver-based artist above all are narrative possibilities. [13] For Coulthard, the lack of mention of race in works that feature only white performers troubles any racial reading of Douglas' work. 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. 139.59.69.52. Hoffmann's original 1816 short story and Sigmund Freud's 1919 essay "The Uncanny", consists of a double projection where the film is literally split down the middle and reassembled so the two sides are slightly out of sync. [22] Marking the first time the artist has filmed on location in New York,[23] however, the setting is a reimagined Manhattan milieu in the 1970s, namely the CBS 30th Street Studio. [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. The photographer’s first solo show took place in 1981. 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 … For writer Peter Culley, writing about two of Douglas' works in 1… Douglas's installation consists of a 16mm projection with a photographic series of contemporary Havana, Cuba. The punch cards are part of the same type of technology as the player piano, which to Culley "sets up a simultaneity of subject which the work immediately begins to subvert; image and music constantly move in and out of precise synchronization, keeping the audience at a constant level of anxious anticipation. 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. This study focuses on a single work within the oeuvre of the Canadian artist Stan Douglas, the two-channel video installation Win, Place or Show (1998). 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. Dimensions variable. 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]. We Asked 14 More Art-World Heavyweights. Search Douglas County, WA real estate, and MLS Listings. Two adjacent projection surfaces create a one-screen optical effect. [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. $34,900 Est. [33] The installation Overture (1986) uses footage of a train journey through the Rocky Mountains shot between 1899 and 1901. Two-channel video installation, colour, sound, 204,023 variations with an average duration of 6 min. 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 is a preview of subscription content. Over 10 million scientific documents at your fingertips. ", "Stan Douglas, 15 September 2007 — 6 January 2008, Staatsgalerie & Wurttembergischer", "Stan Douglas's performance of contested space in Vancouver's Downtown Eastside. 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. Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. 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. Win, Place or Show (clip) (1998, 1.6 MB, 47 sec.) The perforated scrolls that were used to programme weaving into fabric patterns, echo the player piano scrolls. a fairly personal one, derived in a way from my experience of being black in a predominantly white culture, having very little contact with black American culture, but at the same time being expected to represent that to people-both to people who were antagonistically racist and to liberal types. 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. The segment "I'm Not Gary" is set in a nondescript industrial strip. 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 Directed by 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." 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 … This service is more advanced with JavaScript available, »Present Continuous Past(s)« "These artists know how to rock.". Win, Place or Show clip 1998, 1.6 MB, 47 sec.Two men are having a discussion in a small apartment. Stan Douglas Born 1960 in Vancouver. [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. 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. Win, Place or Show clip 1998, 1.6 MB, 47 sec.Two men are having a discussion in a small apartment. 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. [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 (Canadian, born October 11, 1960) is an installation photographer and artist associated with the Vancouver School. Two-channel video projection, 6 min. 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. «Win, Place or Show». Stan Douglas (born October 11, 1960) is an artist based in Vancouver, British Columbia. [3] In 2008 he was awarded the Bell Award in Video Art. Synopsis. 3 wind machines (2 lp/ 1 diesel) Minimum 24 hr notice to show. [13], Douglas has long been interested in the work of Samuel Beckett. Making frequent use of both analog and digital technologies, Douglas appropriates existing Hollywood genres (including murder … Art21 produces the Peabody Award-winning PBS-broadcast … "[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. [17], An early work, Deux Devises (1983), presents a projection of text, the lyrics of 19th century composer Charles Gounod's song "O ma belle, ma rebelle." Where Johnson's words are anguished, Gounod's are safe and comfortable. 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 … [1], Art collector Friedrich Christian Flick, in the foreword to the Stan Douglas monograph, describes Douglas as "a critical analysis of our social reality. Douglas' work is often in the first instance an examination of place – Lisbon, Potsdam, Havana and Detroit have provided the impetus for, respectively, The Secret Agent, 2015, Der Sandmann, 1995, Inconsolable Memories, 2005 and Le Détroit, 1999 – but entangled with the detail of specific geographical and political circumstance is a diverse range of source material that has … (loop), color, sound. A white man passes a second man who is black, calling out to him "Gary?" Featuring a band of professional musicians improvising together, Luanda-Kinshasa is the documentation of a fictitious recording at the famed studio. This exhibition of the work of Canadian artist Stan Douglas and Scottish artist Douglas Gordon includes a new media installation by each artist. With Peter LaCroix, Barry W. Levy. + show 9 more... km from postal code. 4. price. 7. Douglas frequently produces photographs that relate to his video installations. Reprinted from Vancouver Art Gallery. 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. Douglas compares the events of World War II with the oil crisis of 1973. Stan Douglas was born in 1960 in Vancouver, where he currently lives and works. 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 was not aware of Beckett's own work Not I, a disembodied mouth in a black screen. 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. 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… 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. Provenance. Samuel Beckett and Marcel Proust, E.T.A. [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. Win, Place, Or Show. Vancouver: Vancouver Art Gallery, 1999, 111 5. 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. Stan Douglas is a director and writer, known for Doppelgänger (2019), Klatsassin (2006) and The Secret Agent (2015). 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. 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. 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. "[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. Two-channel video installation, colour, sound, 204,023 variations with an average duration of 6 min. [17], The music is in four parts, a gospel melody, an attenuated call and response, a heraldic fanfare and "La Marseillaise. Douglas was born in Vancouver, British Columbia, and was educated at the Emily Carr University of Art and Design. 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 – Win, Place or Show - DVblog Two men are having a discussion in a small apartment. Two men share a dormitory room on a rainy day off from their blue-collar jobs. [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. Art21 is a celebrated global leader in presenting thought-provoking and sophisticated content about contemporary art, and the go-to place to learn first-hand from the artists of our time. [17], Luanda-Kinshasa runs for more than six hours. Features a room in an apartment occupied by two men. 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, … Stan Douglas «Television Spots» Produced between 1987 and 1988, the «Television Spots» are exactly what they claim to be: these twelve, short video sequences were originally planned as inserts within the regular advertisements on Canada’s private television network. 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. The piano plays bars from Beethoven's Piano Sonata No. 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 … Lives and works in Vancouver. Educated at the Emily Carr University of Art and Design in Vancouver, Douglas has exhibited widely since his first solo show in 1981. Miami, FL. 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. Using complex production methods similar to those of the film industry, the details of local businesses, commercial signage and period clothing were carefully replicated to represent the past. 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]. [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. 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. Slide projection for 120 black-and-white slides, one music roll. Stan Douglas: Win, Place, or Show, Salzburger Kunstverein, Salzburg, Austria 1997 Der Sandmann, Freedman Gallery, Albright Center for the Arts, Reading, Pennsylvania Evening, Museum of Contemporary Art Chicago Overture y Monodramas, Museo Alejandro Otero, Caracas, Venezuela [catalogue] "[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. [22], As a Vancouver artist getting his start in the 1980s and using lens-based media, Stan Douglas is often associated with the Vancouver School of photoconceptualism. Planning feasibility and control are two of the ideological components that also featured in modernist town planning after the war. Still from "Win, Place or Show". 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. Uncanny Memories: Stan Douglas, Subjectivity and Cinema Lisa Coulthard, University of British Columbia, Canada Usually viewed in terms of the Vancouver School of photoconceptualism, visual artist Stan ... in Douglas's Win, Place or Show repeatedly argue and fight, with no resolution. Stan. Stan Douglas: Artwork Survey: 1990s | Art21. A recording of Robert Johnson's "Preaching Blues" is played, with accompanying images of Douglas phonetically mouthing the words to the song, out of sync with the recording. Win, Place or Show Stan Douglas Art Funded 2000 Vendor David Zwirner. [28] Developed for television, these 30- to 60-second video works were broadcast nightly in British Columbia in 1992 for three weeks. Wagner's analysis of Douglas' "Monodramas" and "Win, Place or Show" focuses on relations between urban planning/architecture in Vancouver and the economic aspects of media. The scene, lasting only six minutes, is filmed from twenty camera positions. [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. 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. [13] Rather than strictly working from Alea's film in the manner Douglas worked from Hitchcock's Marnie, Inconsolable Memories plays with the layers of its various sources (Cuba in the 1960s, the 1980s and the present). Its title points directly to the origins and history of jazz in Africa. Win, Place or Show (clip) (1998, 1.6 MB, 47 sec.) 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. Laurie Simmons, Sean Kelly, Dan Cameron, and others imagine their fantasy shows. "[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. 1998 Directed by Stan Douglas. ... Stan Douglas. The pairing of the safe salon music of Gounod, and the raw sounds of Johnson, points to the typical prejudice which validates and promotes the supposed seriousness of European music. [27] In 1991, Douglas produced Monodramas a series of short videos for television broadcasting, based on his studies of Beckett's teleplays. This study focuses on a single work within the oeuvre of the Canadian artist Stan Douglas, the two-channel video installation Win, Place or Show (1998). Lives and works in Vancouver, British Columbia, Canada. Stan Douglas' Circa 1948: 'It's not a game, it's a story' One of Canada's great artists is back with a project that explores Vancouver's historical hotels, gambling dens and beer halls 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. [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. Exhibition catalogue by Diana Augaitis. ... Inuit Vintage Place Mats $50 (Surrey) pic hide this posting restore restore this posting. Onomatopoeia, 1985-1986 . Not logged in The other side shows the raw footage, the images not meant for public viewing, what was edited out. 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. Two-channel video projection, 6 min. Latest News. Triggered by punctuations on the piano scroll, images of an empty textile factory are projected above the piano. Courtesy of the artist and David Zwirner, New York/London. George McClellan was a U.S. Army engineer, railroad president and politician who served as a major general during the Civil War. $2,000. 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. Douglas' use of photography has a different purpose than others in the Vancouver School. "[26] Douglas updates the office. 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. © 2020 Springer Nature Switzerland AG. Not affiliated each. The combined use of theatrical and digital processes enabled a heightened form of realism. Watson, Scott, Diana Thater, Stan Douglas and Carol J. Clover. Stan Douglas. Stan Douglas. favorite this post Jan 18 Art Bergmann ‎– Art Bergmann CD 1991 Canada near mint $8 (Vancouver) pic hide this posting restore restore this posting. 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. 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. Jäger, Joachim, Gabriele Knapstein, Stan Douglas and Anette Husch. 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. [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. The images are of a textile mill near the artist's home and specifically that section of the mill employing the punch cards that determine the different patterns of weave design. The two men have an increasingly heated discussion which ends in a fight. Douglas was born in Vancouver, British Columbia, and was educated at the Emily Carr University of Art and Design. This creates a "temporal gap", disrupting the sense of unity so crucial to modernism, so that "everything is deferred and delayed. [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. 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. 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]. with computers replacing typewriters and carpet for '50s linoleum. This page was last edited on 3 December 2020, at 03:24. 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. [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 aim of this text is to describe an art work from the edges of its reception. each. "[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. 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. 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. Thus Donny, the good-looking but naive young guy in Stan Douglas's 1998 video installation Win, Place or Show, will present again and again his wide-eyed theories about mystical forces that are responsible for human suffering. Also featured in modernist town planning after the War their aesthetics 9 more... km from postal code, October... 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