DOUG HALL
BODIES IN SPACE
Doug Hall Mount Rushmore, 2004 Archival pigment ink prints 55 x 69” Edition of 6
Doug Hall 2689 Mission Street, San Francisco, 2011 Archival pigment print 32 x 52” Edition of 6
Doug Hall Drifter, 2008 Archival pigment ink prints 39 x 31” Edition of 6
Doug Hall Gene Autry Rock, The Alabama Hills, California, 2002 Archival pigment print 48 x 60.5” Edition of 6
Doug Hall Glacier Point, 2003 Archival pigment ink prints 68 x 50” (Each panel) Edition of 6
Doug Hall Junior Rodeo Cowgirl, 2008 Archival pigment ink print 39 x 31” Edition of 6
Doug Hall Monument Valley, 2008 Archival pigment ink print 50 x 67” Edition of 6
Doug Hall Piazza dell Rotonda, Rome, 2002 Archival pigment print 48 x 60.5” Edition of 6
Doug Hall Picture Gallery, Galleria Corsini, Rome, 1997 Archival pigment ink print 61.25 x 48” Edition of 6
Doug Hall Sightseers, Arches, 2009 Archival pigment ink print 39 x 31” Edition of 6
Doug Hall Sightseer, Zabriskie Point, 2009 Archival pigment ink prints 39 x 31” Edition of 6
Doug Hall The Museum – Arrangement #5, 2014 Digital C-Prints 46 x 60” Edition of 6
Doug Hall Weekend Cowgirl, 2008 Archival pigment print 39 x 31” Edition of 6
Doug Hall Woman on the Beach, San Francisco, 2010 Digital C-Prints 32.5 x 26" Edition of 6
Doug Hall Girl with the Leopard-Skin Bag, San Francisco, 2010 Archival pigment print 39 x 31" Edition of 6
Doug Hall received a BA in anthropology from Harvard College in 1966 and an MFA in sculpture from the Rinehart School of Sculpture of the Maryland Institute College of Art in 1969. That same year he moved to San Francisco where, in the late 1970s and early 80s, he came to prominence for his pioneering video and performance, done as a founding member of the multimedia art collective T.R. Uthco, as a collaborator with another San Francisco Bay Area collective, Ant Farm’ and, when those groups disbanded in the late 70s, as an individual artist.
In the late 1980s Hall’s interests shifted from video and installation to include large-scale photography, both as a means to critically document the way that spaces and visual structures organize and define human activity, and in order to remove the predetermined temporality of video from his audience’s experience of the work. Using digital technology to generate a resolution and focal depth beyond the limitations of the human eye, Hall pushes his photographs past the realm of literal description, ushering the viewer into an allegorical space in which the act of seeing itself comes under scrutiny. His images often “critique society,” in the words of one reviewer, “but he leaves his conclusions ambiguous
Hall’s work can be seen in the public collections of the San Francisco Museum of Modern Art; The Museum of Modern Art, New York; The Contemporary Art Museum, Chicago; The Berlinische Galerie, Berlin; University of California, Berkeley Art Museum and Pacific Archive; Museum für Moderne Kunst, Vienna; The Whitney Museum, New York; The Kemper Art Museum, St. Louis; and The Miami Museum of Art, Florida. Among the grants and fellowships that he has received are those from The National Endowment for the Arts, The California Arts Council, The Fulbright Foundation, The Rockefeller Foundation, and The Guggenheim Foundation. He was the 1995/96 recipient of The Gilmore D. Clarke & Michael Rapuano Rome Prize in Visual Arts from The American Academy in Rome. Currently he is Visiting Artist at the California College of the Arts, San Francisco/Oakland.
SERIES
