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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.
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Shot in black and white and printed on a glittery carborundum surface, Black Hands, White Cotton both confronts and abstracts the subject of its title...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...