Canadian photographer and video artist Stan Douglas challenges viewers’ ideas about narrative by creating non-linear, sometimes randomly generated video installations that can continue for days. Douglas’s work engages directly with a variety of source material, from Samuel Beckett’s teleplays to recognizably post-war images in the vein of press photography from that era. Douglas’s films are often accompanied by collections of photographs, as seen in Le Detroit (1999/2000), made after the series Detroit Photos (1997-1998), both of which explore decay and reinvention in beleaguered Detroit.
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