It’s only just begun.
Gagosian is pleased to present an exhibition of new work by Douglas Gordon.
Gordon is a conjurer of collective memory and perceptual surprise, wielding as his tools the everyday commodities of popular culture: Hollywood films, found scientific footage, photographs of rock stars, or poetic and ambiguous phrases. Manipulating viewers’ reactions to the familiar, Gordon skillfully infuses a combination of wit and dread into his diverse body of work, which includes video, sound, photographic objects, and texts. His early work 24 Hour Psycho (1993) slows down and protracts Alfred Hitchcock’s legendary 1960 film to a full day’s duration, drawing out the horror until it ceases to be suspenseful.
Gordon’s Blind Stars (2002) features publicity photographs of midcentury movie stars in which the sitters’ eyes have been replaced by expressionless black, white, or mirrored surfaces. His Bond Girl portraits (2006) comprise more dramatically desecrated visages of the James Bond film actresses, yet their cut and burned remains still pack a seductive punch. The most recent self-portraits allude to Gordon’s uneasy affinity for Andy Warhol, which has often impacted the content and tone of his work. Warhol’s immortalized cultural icons here take the form of charred, browned bits of commercial reproductions floating on mirrored backgrounds, singed remnants of the heroic originals that nonetheless possess an eerily powerful presence. Gordon’s portraits underscore Warhol’s phenomenal resonance in today’s art world, while capturing the self-reflexive nature of the post-Warholian period.
Katrina Brown discusses the importance of Douglas Gordon’s 24 Hour Psycho (1993) and some of the films that followed, touching on threads that run throughout the artist’s career.
Gagosian Quarterly Spring 2018
The Spring 2018 Gagosian Quarterly with a cover by Ed Ruscha is now available for order.
Douglas Gordon: I had nowhere to go
Featuring an extensive interview with Douglas Gordon on the process of making his 2016 film I had nowhere to go: Portrait of a displaced person, this video, produced by Berlin Art Link, includes clips of Jonas Mekas and revealing anecdotes about the creation of the film.
Douglas Gordon and Morgane Tschiember
Douglas Gordon and Morgane Tschiember’s installation As close as you can for as long as it lasts, presented during Elevation 1049: Avalanche in Gstaad, Switzerland.
Making Eyes: Douglas Gordon
Douglas Gordon and Rufus Wainwright collaborated to produce afflictive, slow-motion projections to accompany Wainwright’s performances during his 2010 All Days Are Nights: Songs for Lulu tour.
Extended through February 3, 2018
November 14, 2017–February 3, 2018
West 21st Street, New York
I had nowhere to go: Portrait of a displaced person
October 3–7, 2017
Britannia Street, London