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In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action. Also characteristic of his work, the scene takes place in front of a mirror, suggesting the kind of personal self-reflection that one is capable of – both good and evil. The video makes clear cinematographic reference to the ‘alter-ego’ transformation in Mamoulian’s Dr. Jekyll and Mr. Hyde, and to the “You looking at me?” sequence performed in front of a mirror by Robert De Niro in Scorsese’s Taxi Driver which also inspired Gordon’s through a looking glass ( 1999).
Douglas Gordon is a celebrated Scottish artist whose work revolves around the themes of memory, time and our perception of it. Spanning across film, video, installation, photography, and sculpture, his work offers a new experience of the cinematic in the space of contemporary art, creating what critic Dominique Païni described as ‘exhibition cinema.’ Interested in how we experience temporality, Gordon has often slowed down either original or appropriated footage in order to play with the viewers’ perception. An example is his celebrated work 24 Hour Psycho (1993) , in which Gordon stretched the duration of Alfred Hitchcock’s iconic movie to last 24 hours. This gesture both monumentalized time and intensified the imagery, structurally reframing the film by shifting our perception away from the movie’s original narrative and directing it towards the finer details that constitute every single frame. Several of his works incorporate that universal dichotomies: of life and death, innocence and guilt, and dual identities. Harboring the tension between opposing forces, Gordon then employs formal strategies of repetition, mirroring, and doubling to construct a deliberate ambiguity and multiplicity of meaning.
This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...
Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
AIDS Ring by General Idea is a cast metal ring, which takes as its basis Robert Indiana’s iconic “LOVE” design, appropriating its pop aesthetic, and totalizing, simplistic universal messaging to instead emphasize the severity of the AIDS epidemic that occurred in the 1970s...
The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
#17 Pink is a photogram, a photographic image produced without the use of a camera...
Following its display at the General Idea retrospective in Stedelijk Museum Amsterdam The post AIDS Sculpture By General Idea Finds Permanent Home In Amsterdam Park appeared first on Artlyst ....
This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Martin Kippenberger’s late collages are known for incorporating a wide range of materials, from polaroids and magazine clips to hotel stationery, decals, and graphite drawings...
In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space...