Douglas Gordon

Douglas Gordon
Gordon at the Opening of his Exhibition at the Tel Aviv Museum of Art, 2013
Born	(1966-09-20) 20 September 1966 (age 50) Glasgow, Scotland
Nationality	British
Education	Glasgow School of Art, Glasgow Slade School of Fine Art, London
Known for	Video art, Photography
Notable work	24 Hour Psycho (1993) Zidane: A 21st Century Portrait (2006)
Movement	Young British Artists
Awards	Hugo Boss Prize (1998), Turner Prize (1996)

Douglas Gordon (born 20 September 1966) is a Scottish artist; he won the Turner Prize in 1996 and the following year he represented Britain at the Venice Biennale. He lives and works in Berlin, Germany.

Gordon won a Hugo Boss Prize in 1998.

Much of Gordon's work is seen as being about memory and uses repetition in various forms. He uses material from the public realm and also creates performance-based videos. His work often overturns traditional uses of video by playing with time elements and employing multiple monitors.

Gordon has often reused older film footage in his photographs and videos. One of his best-known art works is 24 Hour Psycho (1993) which slows down Alfred Hitchcock's film Psycho so that it lasts twenty four hours. In Between Darkness and Light (After William Blake) (1997), William Friedkin's Exorcist (1973) and Henry King's The Song of Bernadette (1943) - two films about adolescent girls driven by external forces - are projected on either side of a single free-standing semi-transparent screen so they can be seen simultaneously. The video installation left is right and right is wrong and left is wrong and right is right (1999) presents two projections of Otto Preminger's Whirlpool (1949) side by side, with the one on the right reversed so that the two sides mirror each other; by digital means, Gordon separated individual frames of the original film so that odd-numbered ones on one side alternate with even-numbered ones on the other.Feature Film (1999) is a projection of Gordon's own film of James Conlon conducting Bernard Herrmann's score to Vertigo, thus drawing attention to the film score and the emotional responses it creates in the viewer. In one installation, this was placed at the top of a tall building, referencing one of the film's main plot points. In Through a looking glass (1999), Gordon created a double-projection work around the climactic 71-second scene in Martin Scorsese’s film Taxi Driver (1976), in which the main character addresses the camera; the screens are arranged so that the character seems to be addressing himself. At first, the 71-second loops are in sync, but they get progressively out and then progressively back with each repetition of the whole, hourlong program.