Edited by Lauren Cornell, Karen Kelly, Barbara Schroeder. Text by Lauren Cornell, Christian Ayne Crouch, Laura U. Marks, Kevin Moore, Christina Sharpe.
Douglas' first US survey charts his global influence and innovation across 40 works and reimagines D.W. Griffith's The Birth of a Nation (1915)
Pbk, 7.5 x 10.25 in. / 216 pgs / 130 color / 180 bw. | 8/12/2025 | Awaiting stock $45.00
Published by Dancing Foxes Press. Edited by Lauren Cornell, Karen Kelly, Barbara Schroeder. Text by Lauren Cornell, Christian Ayne Crouch, Laura U. Marks, Kevin Moore, Christina Sharpe.
Since the 1980s, Canadian artist Stan Douglas (born 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however imperceptible, on the present. His work operates within the genres of cinema, photography and theater to present a point of view that is always staged. Douglas' rigorous explorations of these charged histories show us how to "think historically in the present" and frame contemporary crises in a longer timeline.
This book was published in conjunction with Center for Curatorial Studies, Bard College; Kemper Museum of Contemporary Art.
Published by Ludion. Edited by Tommy Simoens. Text by Christopher Phillips, Pablo Sigg.
Vancouver photographer and video artist Stan Douglas (born 1960) has been celebrated since the late 1980s for his politically freighted retrievals of obsolete technologies and failed utopias. The emphatically narrative character of his films and photographs has made for comparisons with his Vancouver contemporary Jeff Wall, but Douglas also laces his work with a literary engagement, in references to works by Proust, Beckett and other writers. Midcentury Studio sees Douglas pursue a new direction. It chronicles the burgeoning discipline of press photography in North America during the postwar period, for which Douglas assumes the role of a fictional photographer, creating a series of images hypothetically produced between 1945-1951. Douglas constructed a “mid-century studio” using authentic equipment as well as actors to produce carefully staged, black-and-white photographs that painstakingly emulate the period's obsession with crime scenes, dance, gambling and technology. This volume juxtaposes actual photographs from the era with Douglas' superb photo-fictions.
Published by Walther König, Köln. Text by Ariane Beyn.
“Klatsassin,” Stan Douglas’ most recent film work, is named for a Tsilhoqot’in Indian chief. Set deep in Canadian caribou territory during the gold rush, the action begins right after a military conflict between the native population and new immigrants. This volume includes two photographic series; color landscapes and black-and-white portraits of the film’s protagonists.
Published by Hatje Cantz. Edited by by Hans Christ. Text by Iris Dressler, Gudrun Inboden, Sean Rainbird.
This volume assembles a range of photography and 14 moving-image pieces from the course of Stan Douglas's career. 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. The artworks are redolent with allusions to the suppressed and the failed, lost Modernist utopias from the autonomous subject to government housing. For example, Le Detroit looks at the "haunted castle" in its modern variant, the project high-rise. Pursuit, Fear, Catastrophe: Ruskin B.C. refers to silent film and the mechanical piano; Win, Place or Show crosses 1950s home decor with 1960s television; and Evening traces the inception of infotainment in the outgoing 1960s. Douglas is represented in New York by David Zwirner gallery. His work was recently exhibited in a solo exhibition at the Studio Museum, Harlem.
Stan Douglas, born in Vancouver in 1960, is among a younger generation of artists that has come of age artistically around figures like Jeff Wall and Rodney Graham. His thorough photographic series and elaborate film and video installations, all technically meticulous, are the base for subtle societal criticisms and investigations of authorship and subjectivity. They are media machines, Automats of a sort, which involve the viewer in their mechanics; they reflect an era of transition from literally mechanical reproduction to electronic saturation. Douglas's widely appreciated work has appeared in the 1995 Whitney Biennial and three Venice Biennales; at Documenta 9, 10 and 11; at the Guggenheim Museums in New York and Bilbao; and at the Museums of Modern Art in San Francisco and New York. He has had solo exhibitions at the Dia Foundation for the Arts in New York, The Art Institute of Chicago and the Museum of Contemporary Art in Los Angeles, among others.
Stan Douglas: Midcentury Studio
Stan Douglas: Secession
Stan Douglas: Past Imperfect Works 1986-2007
Stan Douglas
Stan Douglas & Douglas Gordon: Double Vision