[33] The installation Overture (1986) uses footage of a train journey through the Rocky Mountains shot between 1899 and 1901. Reprinted from Vancouver Art Gallery. $100. 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." Two men are having a discussion in a small apartment. 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. [18] What is being emphasized is a contrast between the banality of television and the radical programming that was featured at the time. 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. «Win, Place or Show». Watson, Scott, Diana Thater, Stan Douglas and Carol J. Clover. Laurie Simmons, Sean Kelly, Dan Cameron, and others imagine their fantasy shows. 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. 1998 Directed by Stan Douglas. 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. "[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. The scene, lasting only six minutes, is filmed from twenty camera positions. Still from Win, Place or Show, 1998 . [13] Installations such as Win, Place or Show are often complemented by large-scale photographs taken of the film set, showing behind-the-scenes. Triggered by punctuations on the piano scroll, images of an empty textile factory are projected above the piano. 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. [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. [13] Some of the photographs reference the locations used in the original Alea film[13] tying together the themes of history and memory. The aim of this text is to describe an art work from the edges of its reception. price. Stan Douglas Born 1960, Vancouver. Douglas compares the events of World War II with the oil crisis of 1973. Milroy, Sarah. [1], Art collector Friedrich Christian Flick, in the foreword to the Stan Douglas monograph, describes Douglas as "a critical analysis of our social reality. In 1862, McClellans Peninsula Campaign unraveled after the Seven Days Battles, and he also failed to decisively defeat Robert E. Lees Confederate A… 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. 20.16 Acres. [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. 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. Slide projection for 120 black-and-white slides, one music roll. "[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. This creates a "temporal gap", disrupting the sense of unity so crucial to modernism, so that "everything is deferred and delayed. 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. [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. [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. Two-channel video projection with four-channel soundtrack; 204,023 variations with an average duration of 6 min. 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. 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. "[26] Douglas updates the office. Stan Douglas – Win, Place or Show - DVblog Two men are having a discussion in a small apartment. Stan Douglas. [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. 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, … 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. In 2007, Douglas was the recipient of the inaugural Hnatyshyn Foundation Visual Arts Award, a $25,000 prize for excellence in Canadian visual arts presented by Gerda Hnatyshyn president and chair of the board of The Hnatyshyn Foundation. Abbott & Cordova, 7 August 1971 depicts an event in which the police: ...Violently intervened in a public protest against undercover police tactics and in favour of the legalization of marijuana. 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]. Over 10 million scientific documents at your fingertips. Stan Douglas Born 1960 in Vancouver. The vote proved elusive and civil rights began to vanish through court action. 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. Lost time is a continuous element in his works. pp 124-131 | Win, Place or Show (clip) (1998, 1.6 MB, 47 sec.) 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… [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. "[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: Artwork Survey: 1990s | Art21. Dimensions variable. 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. For writer Lisa Coulthard, race is the interpretive framework, because for the white man in the video, "his interlocutor is simply a black man, interchangeable with any other for example and clearly interchangeable with Gary. 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. Stan Douglas was born in 1960 in Vancouver, where he currently lives and works. This service is more advanced with JavaScript available, »Present Continuous Past(s)« (loop), color, sound. 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). + show 9 more... km from postal code. The other side shows the raw footage, the images not meant for public viewing, what was edited out. [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. "[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. This exhibition of the work of Canadian artist Stan Douglas and Scottish artist Douglas Gordon includes a new media installation by each artist. [28] Developed for television, these 30- to 60-second video works were broadcast nightly in British Columbia in 1992 for three weeks. No Basel? Where Johnson's words are anguished, Gounod's are safe and comfortable. His works often take their points of departure in local settings, from which broader issues can be identified. George McClellan was a U.S. Army engineer, railroad president and politician who served as a major general during the Civil War. 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." [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". Still from Win, Place or Show, 1998 . Win, Place or Show Stan Douglas Art Funded 2000 Vendor David Zwirner. The segment "I'm Not Gary" is set in a nondescript industrial strip. Two-channel video projection, 6 min. Crichlow, Warren. [17], The music is in four parts, a gospel melody, an attenuated call and response, a heraldic fanfare and "La Marseillaise. Two-channel video installation, colour, sound, 204,023 variations with an average duration of 6 min. Lives and works in Vancouver. 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]. Stan Douglas (born October 11, 1960) is an artist based in Vancouver, British Columbia. each. The scene, lasting only six minutes, is filmed from twenty camera positions. Its title points directly to the origins and history of jazz in Africa. A nonprofit organization, Art21’s mission is to inspire a more creative world through the works and words of contemporary artists. The photographer’s first solo show took place … Directed by Stan Douglas. 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]. With Peter LaCroix, Barry W. Levy. 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. 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. "These artists know how to rock.". 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." 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. Samuel Beckett and Marcel Proust, E.T.A. Win, Place or Show (clip) (1998, 1.6 MB, 47 sec.) Features a room in an apartment occupied by two men. Stan Douglas' works from the 1980s are concerned with obsolete media and their aesthetics. Works by Stan Douglas: Le Détroit Monodramas Television Spots Win, Place or Show slide installation, 6 min. Miami, FL. The title of the work refers to the classic horse-race betting options - a subject that features in the content of the two protagonists' dialogues, but also alludes to the combinatorial analysis of race finishes and combinations. [34], In Onomatopoeia (1985–1986), a screen hangs over spot-lit upright player piano. Douglas was born in Vancouver, British Columbia, and was educated at the Emily Carr University of Art and Design. 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. ... Inuit Vintage Place Mats $50 (Surrey) pic hide this posting restore restore this posting. 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 piano plays bars from Beethoven's Piano Sonata No. "[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. 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. Stan Douglas Betamax Tape Video Art 1998 "Win, Place or Show" $100 (Vancouver) pic hide this posting restore restore this posting. and is visibly irritated at not being acknowledged. 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. ", "Gleaning the Future from the Gallery Floor. 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] Planning feasibility and control are two of the ideological components that also featured in modernist town planning after the war. 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. This is a preview of subscription content. 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. Latest News. Win, Place or Show clip 1998, 1.6 MB, 47 sec.Two men are having a discussion in a small apartment. 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. ... Stan Douglas. Win, Place or Show (1998): Cameras set up to bisect a space along two parallel axes simultaneously encompass the space in its entirety. (loop), color, sound. Dimensions variable Stan Douglas. Douglas' use of photography has a different purpose than others in the Vancouver School. 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 Two dockworkers inhabiting a cramped one-bedroom … Douglas Gordon's new work, left is right and right is wrong and left is worng and right is right , appropriates a little-known film made in 1949 by Hollywood director Otto Preminger titled … 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. 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