551:. On one side is the "broadcast" version, a montage taken from two cameras, what would be chosen to be transmitted to the home audience. The other side shows the raw footage, the images not meant for public viewing, what was edited out. The two sides of the screen present a complete document of the performance, one in which the viewer must negotiate, depicting the "authorized" version but also the conditions of its production. What is being emphasized is a contrast between the banality of television and the radical programming that was featured at the time.
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1003:(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. Enacted simultaneously on two screens, the work's structure suggested the possibility of coexisting experiences and realities." 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."
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who is black, calling out to him "Gary?" and is visibly irritated at not being acknowledged. Finally, the second man turns to him, replying, "I'm not Gary." 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."
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for three weeks in 1992. 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. The segment "I'm Not Gary" is set in a nondescript industrial strip. A white man passes a second man
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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 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
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a series of short videos for television broadcasting, based on his studies of
Beckett's teleplays. Developed for television, these 30- to 60-second video works were broadcast nightly in British Columbia in 1992 for three weeks. The short narratives "mimic television's editing techniques" and when the
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Since the late 1980s, he has created works in film and photography as well as theatre productions and other multidisciplinary projects that investigate the parameters of their respective mediums. His ongoing inquiry into technology's role in image making, and how those mediations infiltrate and shape
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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. So
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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 takes are edited together in real time by a computer during the exhibition, generating an almost endless series of montages.
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redevelopment, the installation explores the modernist notion of urban renewal with the demolition of existing architecture in favour of grids of apartment blocks. Two men share a dormitory room on a rainy day off from their blue-collar jobs. The conversation flares up during a discussion of the
670:, returning to the desk and turning the safe's combination dial are carefully played out â 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.
289:, London. A survey of his recent work, Stan Douglas: Mise en scĂšne, traveled Europe from 2013 until the end of 2015. Between 2004 and 2006 he was a professor at UniversitĂ€t der KĂŒnste Berlin and since 2009 has been a member of the Core Faculty in the Graduate Art Department of
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runs for more than six hours. Its title points directly to the origins and history of jazz in Africa. Marking the first time the artist has filmed on location in New York, however, the setting is a reimagined
Manhattan milieu in the 1970s, namely the
889:. Triggered by punctuations on the piano scroll, images of an empty textile factory are projected above the piano. The perforated scrolls that were used to programme weaving into fabric patterns, echo the player piano scrolls. The images are of a
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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." Douglas updates the office
701:. 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. Rather than strictly working from Alea's film in the manner Douglas worked from Hitchcock's
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is the documentation of a fictitious recording at the famed studio. Although
Douglas plants subtle period details in clothes, wall posters and cigarette brands, all attention is on the band â which includes among its 10 instrumentalists the
361:(1991). 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
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plays with the layers of its various sources (Cuba in the 1960s, the 1980s and the present). Some of the photographs reference the locations used in the original Alea film tying together the themes of history and memory. At issue is the
845:(1986) uses footage of a train journey through the Rocky Mountains shot between 1899 and 1901. The soundtrack consists of Vancouver writer Gerald Creede reading Douglas's reworking of various sentences taken from the opening section of
637:(1943) exploring "the parameters, functions and limits of cinematic adaptation." His works reference the originals but also distance the newer works through manipulation of the texts, often employing loops and editing techniques to "
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music of Gounod, and the raw sounds of
Johnson, points to the typical prejudice which validates and promotes the supposed seriousness of European music. Where Johnson's words are anguished, Gounod's are safe and comfortable.
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Space, Place and
Landscape: a Postgraduate Workshop 13 July 2007. Edited by Hannah Neate and Joanna Pready. Landscape, Space, Place, Research Group, University of Nottingham.
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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. His 1995 installation
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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,
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begins to subvert; image and music constantly move in and out of precise synchronization, keeping the audience at a constant level of anxious anticipation."
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recalls
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videos were aired during the regular commercial breaks, viewers called the station to ask what was being sold. Douglas' first project for television,
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in
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reading of Douglas' work. In a great deal of Douglas' works, class rather than race is the key element. Having grown up in a largely white
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2249:"The Power Plant - Stan Douglas: Entertainment - 2011-2012 - Exhibitions â The Power Plant Contemporary Art Gallery â Harbourfront Centre"
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collective memory, has resulted in works that are at once specific in their historical and cultural references and broadly accessible.
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Douglas' use of jazz is a more direct response to complex attitudes towards African-American music. Exhibited for the first time at
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often found a larger audience in Europe and was associated with politics and in particular in France where it was utilized by the
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and cultural invisibility. For Coulthard, the lack of mention of race in works that feature only white performers troubles any
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in an endless loop, always the same words but from different points of reference is an allusion to Vladimir and Estragon in
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As a Vancouver artist getting his start in the 1980s and using lens-based media, Stan Douglas is often associated with the
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are ten 30- to 60-second videos from 1991, conceived as interventions into commercial television, broadcast nightly in
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into focus. One can almost sense the craning neck of the filmmaker. Marnie's well-rehearsed actions of walking to the
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what you have is my image not quite synching up or relating to a very archetypal black figure, Robert Johnson.
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during regular programming and featured short, banal scenes in open-ended narratives. An early video work,
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of 1980. Douglas's installation consists of a 16mm projection with a photographic series of contemporary
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between primitive and civilized is further complicated when considering jazz and its position as both "
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president and chair of the board of The Hnatyshyn Foundation. In 2008 he was awarded the Bell Award in
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Krajewsk, "Stan Douglas, 15 September 2007 â 6 January 2008, Staatsgalerie & Wurttembergischer"
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in 1990, 2001, 2005 and 2019. Douglas was chosen to represent Canada in the 2021 Venice Biennale.
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is often addressed through his use of music and in particular, musical idioms associated with
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2699:"Stan Douglas, 15 September 2007 â 6 January 2008, Staatsgalerie & Wurttembergischer"
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Beyond Cinema: The Art of Projection: Films, Videos And Installations From 1963 to 2005
2278:"Exhibition: New Pictures 7: Stan Douglas: Then and Now â Minneapolis Institute of Art"
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468:(meaning "off-screen") is a video installation that addresses the political context of
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as a theme is often not a central or obvious concern of Douglas, his own identity as a
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1406:. Canada Council for the Arts - Conseil des arts du Canada. Accessed September 2013.
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www.damiencarbery.com, Website Designed, Developed and Hosted by Damien Carbery -.
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VIDEO Re/VIEW: The (best) Source for Critical Writings on Canadian Artists' Video.
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2717:"Stan Douglas's performance of contested space in Vancouver's Downtown Eastside."
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Douglas, Stan, Boris Groys, Isabel ZĂŒrcher, Peter Pakesch and Terence Dick. Stan
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is a re-creation of the robbery scene from Hitchcock's 1964 film. In his 1995
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Samuel Beckett: Teleplays, Vancouver Art Gallery, October 1 to December 3, 1988
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Samuel Beckett: Teleplays, Vancouver Art Gallery, October 1 to December 3, 1988
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Samuel Beckett: Teleplays, Vancouver Art Gallery, October 1 to December 3, 1988
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425:" but also highly cultured and in particular the European embracing of jazz as
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neighbourhood in Vancouver, race was only an issue of invisibility rather than
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Crichlow, Warren. "Stan Douglas and the Aesthetic Critique of Urban Decline."
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The National Gallery of Canada chose Douglas to represent Canada in the 2021
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2337:"Acclaimed artist Stan Douglas has first solo exhibition in Ireland at IMMA"
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Brockington, "Logical Anonymity: Lorna Simpson, Steve Mcqueen, Stan Douglas"
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2097:"Vancouver artist Stan Douglas to represent Canada at 2021 Venice Biennale"
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436:(1983), presents a projection of text, the lyrics of 19th century composer
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806:. The repetition and seemingly endless loops of the same narrative in
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JĂ€ger, Joachim, Gabriele Knapstein, Stan Douglas and Anette Husch.
841:. Lost time is a continuous element in his works. The installation
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562:. Featuring a band of professional musicians improvising together,
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193:, describes Douglas as "a critical analysis of our social reality.
1016:. Cologne: Friedrich Christian Flick Collection and DuMont, 2006.
767:, 1983) consisted of a close-up of Douglas' mouth in the shape of
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Beckett, Samuel, Stan Douglas, Linda Ben-Zvi and Clark Coolidge.
1044:. Vancouver: Arsenal Pulp Press, Contemporary Art Gallery, 2002.
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Watson, Scott, Diana Thater, Stan Douglas and Carol J. Clover.
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Douglas began to study Beckett's works and his next video work
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2079:"Stan Douglas to Represent Canada at the 2021 Venice Biennale"
2061:"Stan Douglas to Represent Canada at the 2021 Venice Biennale"
1308:"Stan Douglas to Represent Canada at the 2021 Venice Biennale"
322:, and since the late 1980s has been influenced by the work of
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979:'s Storyscapes section. Douglas also created the stage play
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of 1962 (examined in Alea's film) and the boatlift of 1980.
2464:"Vancouver Artist Stan Douglas Wins $ 100,000 Audain Prize"
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Kernan, "Stan Douglas and Douglas Gordon. New York", p. 260
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Eccles, "Stan Douglas at David Zwirner, New York, New York"
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Douglas' work reflects the technical and social aspects of
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Memorias del subdesarrollo (Memories of Underdevelopment)
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with computers replacing typewriters and carpet for '50s
314:(1998) which explores the modernist idea of urban renewal
2561:. Cologne: Verlag der Buchhandlung Walther Konig, 2008.
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IX, 1992, Documenta X, 1997, Documenta XI, 2002 and the
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fibreculture: internet, theory, criticism and research
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Stan Douglas' works from the 1980s are concerned with
800:(1985) came from misremembering a line from Beckett's
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and is one of his few works to directly address race.
265:. In 2007, Douglas was the recipient of the inaugural
241:, where he currently lives and works. Educated at the
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1551:"Open access journal for Film and Television Studies"
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directly in a few instances, such as the short video
2220:"WĂŒrtt. Kunstverein Stuttgart: Stan Douglas - Werke"
2410:"Stan Douglas wins $ 50,000 Scotiabank Photo Award"
2025:"NFB's Circa 1948 project at Tribeca Film Festival"
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983:, which shares graphics, story and characters with
2708:Milroy, Sarah. "These artists know how to rock."
2580:"The Aesthetics of the Ambient Video Experience."
2439:"Hasselblad Foundation - Hasselblad Award Winner"
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1042:Stan Douglas: Every Building on 100 West Hastings
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751:(1987â88) consisted of twelve were broadcast in
734:Douglas has long been interested in the work of
689:from 1968, updated to include references to the
1638:Milroy, "These artists know how to rock", p. R7
1593:Milroy, "These artists know how to rock", p. R6
1519:Milroy, "These artists know how to rock", p. R5
491:(bass) and Oliver Johnson (drums) who lived in
3183:Emily Carr University of Art and Design alumni
2634:. Toronto: University of Toronto Press, 2006.
1818:. Medienkunstnetz.de. Retrieved on 2014-04-12.
1495:Stan Douglas and Douglas Gordon: Double Vision
775:. Douglas was not aware of Beckett's own work
440:song "O ma belle, ma rebelle." A recording of
269:, a $ 25,000 prize for excellence in Canadian
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2619:"Gleaning the Future from the Gallery Floor."
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2598:International Review of African American Art
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2364:: CS1 maint: multiple names: authors list (
1970:"Gleaning the Future from the Gallery Floor"
1886:Stan Douglas. Past Imperfect Works 1986â2007
452:with the recording. The pairing of the safe
171:He has exhibited internationally, including
1911:"Media Art Net - Douglas, Stan: Monodramas"
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1850:"Stan Douglas YYZ Lecture January 9, 1989"
718:and its decline, and as well, the parallel
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2687:. Ostfildern, Germany: Hatje Cantz, 2007.
2612:Cultural Studies ââ Critical Methodologies
2547:. Vancouver: Vancouver Art Gallery, 1988.
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878:(1985â1986), a screen hangs over spot-lit
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2588:Brockington, Horace. "Logical Anonymity:
1837:. Media Art Net. Retrieved on 2014-04-12.
1809:Media Art Net | Douglas, Stan: Monodramas
1786:Beckett, Douglas, Ben-Zvi and Coolidge,
1404:Stan Douglas wins Bell Award in Video Art
1104:. Toronto: Art Gallery of Ontario, 1987.
2474:from the original on September 24, 2019.
2307:"Stan Douglas â The Fruitmarket Gallery"
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1443:Beckett, Douglas, Ben-Zvi and Coolidge,
1417:"Stan Douglas: Mise en ScĂšne Exhibition"
1144:WĂŒrttembergischer Kunstverein, Stuttgart
1090:. Paris: Centre Georges Pompidou, 1993.
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1983:
1086:Douglas, Stan and Christine VanAssche.
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448:mouthing the words to the song, out of
243:Emily Carr University of Art and Design
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2016:
1388:: CS1 maint: archived copy as title (
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1189:2012: Infinity Award for Art from the
1182:Hnatyshyn Foundation Visual Arts Award
267:Hnatyshyn Foundation Visual Arts Award
152:(born October 11, 1960) is a Canadian
129:Hnatyshyn Foundation Visual Arts Award
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2603:Birnbaum, Daniel. "Time and Trauma."
2557:Douglas, Stan and Ariane (CON) Beyn.
2111:"London Photography Exhibitions 2017"
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506:1965 composition "Spirits Rejoice.".
2646:Design and Crime and other Diatribes
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1692:Holland Cotter (February 13, 2014),
1030:. London: Serpentine Gallery, 2002.
413:musical tradition is positioned as "
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41:Musée d'art contemporain de Montréal
2390:from the original on 29 August 2016
2384:International Center of Photography
1992:"Vancouver Street View, Circa 1948"
1980:Birnbaum, "Time and Trauma", p. 158
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1899:Culley, "Two Works by Stan Douglas"
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1191:International Center of Photography
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1100:Fischer, Barbara and Stan Douglas.
965:His 2014 interactive installation,
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608:Douglas has reworked films such as
139:International Center of Photography
13:
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2041:from the original on 26 April 2014
2023:Ahearn, Victoria (23 April 2014).
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1260:San Francisco Museum of Modern Art
1040:Douglas, Stan and Reid Shier, ed.
1026:Douglas, Stan and Michael Turner.
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225:haunt the uncanny montages of the
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2486:"Stan Douglas, Audain Prize 2019"
1921:from the original on 20 July 2011
1058:. Basel: Kunsthalle Basel, 2001.
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472:in the 1960s, as an extension of
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237:Stan Douglas was born in 1960 in
35:Stan Douglas, Christine Ross and
2673:. Toronto: Art Metropole, 1996.
2614:Volume 3, Number 1 (2003): 8-21.
1210:Audain Prize for the Visual Arts
975:, and premiered in April at the
957:. Set in 1950s Vancouver in the
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137:Infinity Award for Art from the
2743:Lee, John and Karla Zimmerman.
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2420:from the original on 2018-04-23
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1990:Rothman, Lily (17 April 2014).
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1951:from the original on 2008-08-21
1941:"Fibreculture Journal Issue 11"
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1909:Net, Media Art (5 April 2019).
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1828:Douglas, Stan: Television Spots
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1727:, January 9 â February 22, 2014
1694:Stan Douglas: âLuanda-Kinshasaâ
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1371:from the original on 2008-05-17
1012:Douglas, Stan and Philip Monk.
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2195:"Stan Douglas. Past Imperfect"
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1341:Stan Douglas and Philip Monk,
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521:The music is in four parts, a
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1:
3178:Film directors from Vancouver
3168:Canadian installation artists
3163:Canadian contemporary artists
2624:Issue No. 28 (Sept-Oct 2003).
2166:"The Studio Museum in Harlem"
1854:, Vol. 10 No. 2 (Winter 1989)
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1186:2008: Bell Award in Video Art
1156:Minneapolis Institute of Arts
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973:National Film Board of Canada
887:Piano Sonata No. 32, Opus 111
851:A la recherche de temps perdu
330:as a theoretical concept and
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134:Bell Award in Video Art, 2008
2765:Stan Douglas - David Zwirner
2282:Minneapolis Institute of Art
1662:"Stan Douglas / Hors-champs"
1265:Solomon R. Guggenheim Museum
1198:Scotiabank Photography Award
1102:Perspective 87: Stan Douglas
1074:Macdonald Stewart Art Centre
882:. The piano plays bars from
409:with black music, while the
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291:Art Center College of Design
281:. Douglas is represented by
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937:Douglas' 1998 installation
16:Canadian artist (born 1960)
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2726:. London: Phaidon, 1998.
2607:Volume 17 (2002): 155â192.
2380:"2012 Infinity Award: Art"
1254:National Gallery of Canada
1242:Museum of Contemporary Art
1168:Irish Museum of Modern Art
326:. Also of concern is both
3148:Black Canadian filmmakers
3091:
3020:
2949:
2878:
2813:
1174:
740:Samuel Beckett: Teleplays
645:Subject to a Film: Marnie
588:
479:Four American musicians,
296:
255:Skulptur Projekte MĂŒnster
186:, in the foreword to the
184:Friedrich Christian Flick
121:
111:
98:
84:
76:
47:
28:
21:
2712:(Nov 6, 2003): p. R5-7.
2512:"Stan Douglas biography"
1945:journal.fibreculture.org
1293:
1284:, Minneapolis, Minnesota
823:
2747:. Lonely Planet, 2008.
2705:Issue 12 (Winter 2007).
2648:. London: Verso: 2002.
2600:15 No. 3 (1998): 20â29.
2311:The Fruitmarket Gallery
1323:Cite magazine requires
1230:Centre Georges Pompidou
1164:, Edinburgh (2014â2015)
1140:Staatsgalerie Stuttgart
1134:Studio Museum in Harlem
971:was co-produced by the
3173:Canadian video artists
3158:Canadian photographers
3153:Black Canadian artists
3143:Artists from Vancouver
2981:Bernd and Hilla Becher
2470:. September 24, 2019.
1859:July 14, 2011, at the
1224:Art Gallery of Ontario
872:
792:
672:
560:CBS 30th Street Studio
512:French Communist Party
315:
247:Carnegie International
2833:Henri Cartier-Bresson
2745:Vancouver: City Guide
2253:www.thepowerplant.org
1871:Kealy, "10 Texts for
1763:Vancouver: City Guide
1737:David Zwirner Gallery
1647:Gale, "Stan Douglas:
1472:Kealy, "10 Texts for
1455:Kealy, "10 Texts for
1277:Vancouver Art Gallery
977:Tribeca Film Festival
856:
829:Early works 1983â1991
787:
738:. In 1988 he curated
707:Inconsolable Memories
677:Inconsolable Memories
656:
499:period in the 1960s,
309:
287:Victoria Miro Gallery
2839:Manuel Ălvarez Bravo
2669:Eds. Peggy Gale and
2559:Secession: Secession
2492:. Audain Museum, B.C
2224:www.wkv-stuttgart.de
2170:www.studiomuseum.org
1884:Christ and Dressler
1666:www.newmedia-art.org
1555:www.nottingham.ac.uk
1248:Museum of Modern Art
1128:Kestner Gesellschaft
880:upright player piano
763:(the second part of
724:Cuban Missile Crisis
681:Tomas Gutierrez Alea
2697:Krajewsk, Michael.
1915:www.mediaartnet.org
1852:The Independent Eye
1761:Lee and Zimmerman,
1651:and others", p. 363
1162:Fruitmarket Gallery
1056:Douglas: Le DĂ©troit
679:(2005) is based on
474:black consciousness
334:as it has affected
89:installation artist
2928:Christer Strömholm
2630:and SĂ©amus Kealy.
2035:The Canadian Press
1833:2009-01-09 at the
1814:2009-05-20 at the
1732:2014-02-15 at the
1699:2018-02-25 at the
1567:Douglas and Monk,
1502:2007-05-28 at the
1402:(March 18, 2008).
1216:Public collections
1158:, Minnesota (2012)
1122:Serpentine Gallery
955:establishing shots
939:Win, Place or Show
808:Win, Place or Show
610:Alfred Hitchcock's
599:photoconceptualism
316:
312:Win, Place or Show
207:the Brothers Grimm
105:Win, Place or Show
3120:
3119:
3058:Wolfgang Tillmans
3005:Graciela Iturbide
2934:William Eggleston
2869:SebastiĂŁo Salgado
2805:Laureates of the
2661:. "Stan Douglas:
2622:Senses of Cinema.
2596:, Stan Douglas."
2573:Secondary sources
2386:. 11 April 2012.
1282:Walker Art Center
1136:, New York (2005)
1050:978-1-55152-135-0
1028:Journey into fear
920:E.T.A. Hoffmann's
858:Douglas situates
817:Waiting for Godot
798:Panoramic Rotunda
634:Journey into Fear
583:Kimberly Thompson
574:Abdou Mboup, the
530:call and response
397:culture, such as
349:Politics and race
213:, television and
147:
146:
3190:
3111:Carrie Mae Weems
3046:Joan Fontcuberta
2963:Hiroshi Sugimoto
2807:Hasselblad Award
2799:
2792:
2785:
2776:
2775:
2710:Globe & Mail
2578:Bizzocchi, Jim.
2531:
2530:
2528:
2527:
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2155:
2153:
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2127:
2126:
2124:
2122:
2117:. jfFrank online
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2100:
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2086:
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2068:
2057:
2051:
2050:
2048:
2046:
2020:
2014:
2013:
2011:
2009:
2004:on 19 April 2014
2000:. Archived from
1987:
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1304:
1204:Hasselblad Award
1152:, Toronto (2011)
1130:, Hanover (2004)
1116:Solo exhibitions
903:British Columbia
837:media and their
749:Television Spots
716:Cuban revolution
641:" the originals
595:Vancouver School
438:Charles Gounod's
395:African-American
251:Whitney Biennial
162:British Columbia
116:Vancouver School
101:
69:British Columbia
61:
58:October 11, 1960
57:
55:
33:
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18:
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3087:
3070:Rineke Dijkstra
3052:Miyako Ishiuchi
3016:
2993:David Goldblatt
2987:Lee Friedlander
2957:Boris Mikhailov
2945:
2874:
2821:Lennart Nilsson
2809:
2803:
2770:Tate Collection
2761:
2740:
2715:Walls, Rachel.
2628:Eagleton, Terry
2617:Dercon, Chris.
2575:
2540:
2538:Primary sources
2535:
2534:
2525:
2523:
2510:
2509:
2505:
2495:
2493:
2490:audainprize.com
2484:
2483:
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2446:
2441:. 9 June 2015.
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1816:Wayback Machine
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1743:
1734:Wayback Machine
1725:Luanda-Kinshasa
1721:
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1701:Wayback Machine
1691:
1684:
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1580:Watson, et al,
1579:
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1523:
1518:
1509:
1504:Wayback Machine
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1415:
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1374:
1372:
1368:
1361:
1359:"Archived copy"
1357:
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1349:
1340:
1336:
1325:|magazine=
1324:
1322:
1313:
1312:
1306:
1305:
1301:
1296:
1291:
1218:
1177:
1170:, Dublin (2015)
1150:The Power Plant
1124:, London (2002)
1118:
1068:Douglas, Stan.
1009:
997:Venice Biennale
993:
991:Venice Biennale
928:Sigmund Freud's
912:
847:Marcel Proust's
831:
826:
732:
714:promise of the
691:Mariel boatlift
591:
564:Luanda-Kinshasa
555:Luanda-Kinshasa
541:La Marseillaise
481:George E. Lewis
432:An early work,
383:
351:
310:Video still of
304:
299:
285:, New York and
275:Gerda Hnatyshyn
235:
203:E.T.A. Hoffmann
177:Venice Biennale
143:
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62:
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3105:Dayanita Singh
3102:
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3086:
3085:
3082:DaidĆ Moriyama
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2916:Robert HĂ€usser
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2910:Susan Meiselas
2907:
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2898:Josef Koudelka
2895:
2892:Richard Avedon
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2863:Ădouard Boubat
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2857:Hiroshi Hamaya
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2760:
2759:External links
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1723:Stan Douglas,
1710:
1705:New York Times
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773:Robert Johnson
736:Samuel Beckett
731:
730:Samuel Beckett
728:
722:events of the
650:Art in America
590:
587:
504:Albert Ayler's
442:Robert Johnson
391:Black-Canadian
382:
381:Jazz and blues
379:
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336:North American
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2732:0-7148-3796-2
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2707:
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2703:Map Magazine.
2700:
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2694:
2693:3-7757-1874-5
2690:
2686:
2682:
2680:
2679:0-920956-37-8
2676:
2672:
2668:
2665:and others."
2664:
2660:
2657:
2655:
2654:1-85984-453-7
2651:
2647:
2644:Foster, Hal.
2643:
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2640:0-7727-8208-3
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2567:3-86560-274-6
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37:Okwui Enwezor
32:
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3099:Alfredo Jaar
3064:Stan Douglas
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2922:Robert Frank
2904:Sune Jonsson
2744:
2724:Stan Douglas
2723:
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2605:Lier en Boog
2604:
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2544:
2524:. Retrieved
2515:
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2494:. Retrieved
2489:
2480:
2468:Canadian Art
2467:
2458:
2447:. Retrieved
2433:
2422:. Retrieved
2414:Canadian Art
2413:
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2392:. Retrieved
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2114:
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2083:Canadian Art
2082:
2073:
2065:Canadian Art
2064:
2055:
2043:. Retrieved
2030:Toronto Star
2028:
2018:
2006:. Retrieved
2002:the original
1995:
1985:
1976:
1964:
1953:. Retrieved
1944:
1935:
1923:. Retrieved
1914:
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1872:
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1750:Stan Douglas
1749:
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1703:
1674:. Retrieved
1665:
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1582:Stan Douglas
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1569:Stan Douglas
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1373:. Retrieved
1343:Stan Douglas
1342:
1337:
1302:
1271:Tate Gallery
1219:
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1014:Stan Douglas
1013:
1001:DoppelgÀnger
1000:
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953:and lack of
946:
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891:textile mill
876:Onomatopoeia
875:
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812:protagonists
807:
803:Fizzle No. 7
801:
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765:Deux Devises
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622:
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483:(trombone),
478:
465:
459:
446:phonetically
434:Deux Devises
433:
431:
415:high culture
384:
375:civil rights
371:middle-class
359:I'm Not Gary
358:
352:
343:World War II
317:
311:
236:
209:, blues and
188:Stan Douglas
187:
181:
170:
166:
150:Stan Douglas
149:
148:
104:
100:Notable work
93:photographer
23:Stan Douglas
3133:1960 births
3076:Oscar Muñoz
3040:Paul Graham
2845:Irving Penn
2827:Ansel Adams
2671:Lisa Steele
2659:Gale, Peggy
2632:18: Beckett
2585:. Issue 11.
2394:2 September
2341:www.imma.ie
2201:(in German)
1739:, New York.
1463:, pp. 63-63
1238:, Jerusalem
1072:. Toronto:
930:1919 essay
924:short story
918:, based on
884:Beethoven's
627:(1977) and
525:melody, an
495:during the
489:Kent Carter
466:Hors-champs
462:documenta 9
407:"primitive"
363:imperialism
271:visual arts
259:Documenta X
253:, the 1997
249:, the 1995
77:Nationality
3127:Categories
3034:Walid Raad
2999:Nan Goldin
2851:Ernst Haas
2526:2018-05-25
2449:2017-01-31
2424:2018-04-23
2351:2018-05-25
2321:2019-01-29
2292:2018-05-25
2263:2018-05-25
2234:2018-05-25
2205:2018-05-25
2180:2018-05-25
2151:2018-05-25
2137:"Suspiria"
2121:3 November
1955:2009-06-30
1873:18:Beckett
1676:2019-04-04
1478:18:Beckett
1474:18:Beckett
1461:18:Beckett
1457:18:Beckett
1375:2009-03-06
1289:References
1267:, New York
1250:, New York
1193:, New York
1007:Catalogues
985:Circa 1948
968:Circa 1948
959:Strathcona
947:The Client
899:Monodramas
897:Douglas's
839:aesthetics
744:Monodramas
569:Senegalese
527:attenuated
423:race music
320:mass media
233:Background
54:1960-10-11
2969:Jeff Wall
1244:, Chicago
1226:, Toronto
785:song was
753:Saskatoon
664:voyeurism
603:Jeff Wall
508:Free jazz
501:improvise
497:free jazz
470:free jazz
464:in 1992,
385:Although
332:modernity
328:modernism
302:Modernism
279:Video Art
239:Vancouver
229:artist."
219:Karl Marx
215:Hollywood
211:free jazz
191:monograph
173:Documenta
158:Vancouver
156:based in
65:Vancouver
2520:Archived
2472:Archived
2443:Archived
2418:Archived
2388:Archived
2360:cite web
2345:Archived
2315:Archived
2286:Archived
2257:Archived
2228:Archived
2174:Archived
2145:Archived
2045:23 April
2039:Archived
2008:19 April
1968:Dercon,
1949:Archived
1919:Archived
1857:Archived
1831:Archived
1812:Archived
1765:, p. 26
1730:Archived
1697:Archived
1670:Archived
1500:Archived
1384:cite web
1366:Archived
1273:, London
1256:, Ottawa
1076:, 1994.
860:Overture
843:Overture
835:obsolete
769:phonemes
720:Cold War
683:'s film
668:washroom
660:linoleum
624:Suspiria
617:(1964),
534:heraldic
516:May 1968
427:high art
417:". This
411:European
339:urbanism
227:Canadian
112:Movement
80:Canadian
71:, Canada
2738:General
2663:Evening
2496:18 July
2115:jfFrank
1925:11 June
1790:, p. 74
1752:, p. 10
1649:Evening
1584:, p. 37
1571:, p. 31
1480:, p. 62
1232:, Paris
712:utopian
572:drummer
537:fanfare
514:during
3113:(2023)
3107:(2022)
3101:(2020)
3084:(2019)
3078:(2018)
3072:(2017)
3066:(2016)
3060:(2015)
3054:(2014)
3048:(2013)
3042:(2012)
3036:(2011)
3030:(2010)
3013:(2009)
3007:(2008)
3001:(2007)
2995:(2006)
2989:(2005)
2983:(2004)
2977:(2003)
2971:(2002)
2965:(2001)
2959:(2000)
2942:(1999)
2936:(1998)
2930:(1997)
2924:(1996)
2918:(1995)
2912:(1994)
2906:(1993)
2900:(1992)
2894:(1991)
2888:(1990)
2871:(1989)
2865:(1988)
2859:(1987)
2853:(1986)
2847:(1985)
2841:(1984)
2835:(1982)
2829:(1981)
2823:(1980)
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2565:
2551:
1748:Monk,
1345:, p. 7
1208:2019:
1202:2016:
1196:2013:
1180:2007:
1175:Awards
1146:(2007)
1108:
1094:
1080:
1062:
1048:
1034:
1020:
945:drama
868:Wagner
864:Balzac
757:Ottawa
703:Marnie
695:Havana
614:Marnie
589:Cinema
576:Indian
523:gospel
493:France
419:binary
367:racial
341:since
297:Themes
263:Kassel
154:artist
131:, 2007
122:Awards
107:, 1998
3092:2020s
3021:2010s
2950:2000s
2879:1990s
2814:1980s
1369:(PDF)
1362:(PDF)
1294:Notes
951:takes
824:Works
783:blues
778:Not I
579:tabla
549:recto
545:verso
539:and "
454:salon
399:blues
2749:ISBN
2728:ISBN
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2675:ISBN
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2396:2016
2366:link
2123:2017
2047:2014
2010:2014
1927:2009
1497:2000
1390:link
1329:help
1142:and
1106:ISBN
1092:ISBN
1078:ISBN
1060:ISBN
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1018:ISBN
926:and
866:and
761:Mime
755:and
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547:and
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