Douglas Gordon | |
|---|---|
 Douglas Gordon photographed byOliver Mark, Berlin 2012 | |
| Born | (1966-09-20)20 September 1966 (age 59) Glasgow, Scotland |
| Education | Glasgow School of Art, Glasgow Slade School of Fine Art, London |
| Known for | Video art, Photography |
| Notable work | 24 Hour Psycho (1993) Zidane: A 21st Century Portrait (2006) |
| Movement | Young British Artists |
| Awards | Hugo Boss Prize (1998),Turner Prize (1996) |
Douglas Gordon (born 20 September 1966) is a Scottish artist. He won theTurner Prize in 1996, the Premio 2000 at the 47thVenice Biennale in 1997 and theHugo Boss Prize in 1998. He lives and works in Berlin, Germany.
Much of Gordon's work is seen as being about memory and uses repetition in various forms. He uses material from the public realm and also creates performance-based videos. His work often overturns traditional uses of video by playing with time elements and employing multiple monitors.[1]
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Gordon has often reused older film footage in his photographs and videos.[2] One of his best-known art works is24 Hour Psycho (1993) which slows downAlfred Hitchcock's filmPsycho so that it lasts twenty four hours.[3][4] InBetween Darkness and Light (After William Blake) (1997),William Friedkin'sExorcist (1973) andHenry King'sThe Song of Bernadette (1943) – two films about adolescent girls driven by external forces[5] – are projected on either side of a single free-standing semi-transparent screen so they can be seen simultaneously.[6] The video installationleft is right and right is wrong and left is wrong and right is right (1999) presents two projections ofOtto Preminger'sWhirlpool (1949) side by side, with the one on the right reversed so that the two sides mirror each other; by digital means, Gordon separated individual frames of the original film so that odd-numbered ones on one side alternate with even-numbered ones on the other.[6]Feature Film (1999) is a projection of Gordon's own film ofJames Conlon conductingBernard Herrmann's score toVertigo, thus drawing attention to thefilm score and the emotional responses it creates in the viewer. In one installation, this was placed at the top of a tall building, referencing one of the film's main plot points. InThrough a looking glass (1999), Gordon created a double-projection work around the climactic 71-second scene inMartin Scorsese's filmTaxi Driver (1976), in which the main character addresses the camera; the screens are arranged so that the character seems to be addressing himself.[2] At first, the 71-second loops are in sync, but they get progressively out and then progressively back with each repetition of the whole, hourlong program.[7]
Originally conceived as a site-specific video projection forGagosian Gallery in Chelsea,[8]Play Dead; Real Time (2003) consists of two videos projected on two large screens showing a circus elephant named Minnie ponderously performing for an off-screen trainer in the empty, spacious, white-walled gallery room. In each projection the camera circles as the elephant walks around, lies down to play dead and gets up.[6] The footage showing Minnie's sequences of tricks is simultaneously presented in a front and a rear life-sized projection and on a monitor, with each one depicting the same event from a range of perspectives, including close-ups of the animal's eyes.[9] Gordon also made a film aboutZinedine Zidane,Zidane, un portrait du 21e siècle (2006), an idea first seen in a film by Hellmuth Costard, who, in 1970, made a film aboutGeorge Best titledFootball as Never Before. The feature-length film, which he co-directed with fellow artistPhilippe Parreno and assembled from footage shot by seventeen synchronised cameras placed around the stadium in real time over the course of a single match,[10] premiered outside the competition of the 2006Cannes Film Festival before screenings at numerous international venues.k.364 premiered at theVenice Film Festival in September 2010.[11]
Gordon has also made photographs, often in series with relatively minor variations between each individual piece. HisBlind Stars (2002) featured publicity photographs of mid-century movie stars in which the sitters' eyes were replaced by expressionless black, white or mirrored surfaces.[12]
In 2010, Gordon collaborated withRufus Wainwright, creating the visuals for his tour which accompany Rufus'All Days Are Nights: Songs for Lulu album. InPhantom (2011), another collaboration with Wainwright, Gordon employs slow-motion film produced with a high-speedPhantom camera focusing on Wainright's eye – blackened with make-up, weeping, and glaring back at the viewer, echoing melodramatic performances by stars of the silent screen.[13]
In 2008, Gordon was a member of the Official Competition Jury at the65th Venice International Film Festival. He was also a member of the jury that selectedHito Steyerl as recipient of the Käthe Kollwitz Prize in 2019.[14]
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Gordon's first solo show was in 1986. In 1993, he exhibited24 Hour Psycho in the spaces ofTramway, Glasgow, and atKunst-Werke Institute for Contemporary Art, Berlin. The Berlin show was curated byKlaus Biesenbach. In 1996, Gordon was one of the artists invited toSkulptur Projekte Münster,[15] and in 1997 he represented Britain at theVenice Biennale. His work was the subject of a 2001 retrospective organised by theMuseum of Contemporary Art, Los Angeles, which travelled to theVancouver Art Gallery, Canada;Museo Rufino Tamayo, Mexico City; and theHirshhorn Museum and Sculpture Garden, Washington, D.C. In 2005, he put together an exhibition at theDeutsche Guggenheim, Berlin calledThe Vanity of Allegory. In 2006,Douglas Gordon Superhumanatural opened at theNational Galleries of Scotland complex in Edinburgh, being Gordon's first major solo exhibition in Scotland since he presented24 Hour Psycho in 1993. Also in 2006, theMuseum of Modern Art (MoMA) in New York showed a retrospective of Gordon's work, calledTimeline, which was curated by Klaus Biesenbach.[16][17] Another 2006 retrospective was on view at theKunstmuseum Wolfsburg, Germany, and theScottish National Gallery of Modern Art, Edinburgh.[18] A survey of his textworks was shown at Tate Britain, London in 2010. Retrospective solo exhibitions were shown at Museum für Moderne Kunst, Frankfurt am Main in 2011 to 2012, Tel Aviv Museum of Art in 2013 and at the Australian Centre for Contemporary Art in Melbourne in 2014. Further solo exhibitions have been held at Museum Folkwang, Essen, Germany 2013, Musée D'art Moderne de la Ville de Paris, 2014. Gordon took part in the Biennale of Sydney 2014 andDocumenta 17. In 2019, his works were exhibited at theArsenale Institute for Politics of Representation, Venice, during the showHey Psycho!.
Gallery versions ofZidane, un portrait du 21e siècle (2006) were purchased by theScottish National Gallery of Modern Art and theSolomon R. Guggenheim Museum, New York.[19][20] The Guggenheim collection also include Through a Looking Glass (1999) and Tattoo (for Reflection) by Gordon.[21] Several photographs and video installations are in the Migros Museum for contemporary art in Zürich.,[22] in the Tate collection,[23] National Galleries of Scotland,[citation needed] Musée D'art Moderne de la Ville de Paris.[24] Play Dead; Real Time (2003) is co-owned by MMK Frankfurt and Hirschhorn Museum and Sculpture Garden Collection.[25] His colour photographMonster (1996–7) is in the permanent collection of theHonolulu Museum of Art.[26]
| This section of abiography of a living personneeds additionalcitations forverification. Please help by addingreliable sources.Contentious material about living persons that is unsourced orpoorly sourcedmust be removed immediately from the article and its talk page, especially if potentiallylibelous. Find sources: "Douglas Gordon" – news ·newspapers ·books ·scholar ·JSTOR(October 2017) (Learn how and when to remove this message) |
