Stan Douglas OC (born October 11, 1960) is a Canadian artist based in Vancouver, British Columbia.

Since the late 1980s, he has created works in film and photography as well as theatre productions and other multidisciplinary projects that investigate the parameters of their respective mediums. His ongoing inquiry into technology's role in image making, and how those mediations infiltrate and shape collective memory, has resulted in works that are at once specific in their historical and cultural references and broadly accessible.

He has exhibited internationally, including Documenta IX, 1992, Documenta X, 1997, Documenta XI, 2002 and the Venice Biennale in 1990, 2001, 2005 and 2019. Douglas was chosen to represent Canada in the 2022 Venice Biennale.

Art collector Friedrich Christian Flick, in the foreword to the Stan Douglas monograph, describes Douglas as "a critical analysis of our social reality. Samuel Beckett and Marcel Proust, E.T.A. Hoffmann and the Brothers Grimm, blues and free jazz, television and Hollywood, Karl Marx and Sigmund Freud haunt the uncanny montages of the Canadian artist."

Stan Douglas was born in 1960 in Vancouver, where he currently lives and works. Educated at the Emily Carr University of Art and Design in Vancouver, Douglas has exhibited widely since his first solo show in 1981. Among numerous group exhibitions, Douglas was included in the 1995 Carnegie International, the 1995 Whitney Biennial, the 1997 Skulptur Projekte Münster and Documenta X in Kassel. In 2007, Douglas was the recipient of the inaugural Hnatyshyn Foundation Visual Arts Award, a $25,000 prize for excellence in Canadian visual arts presented by Gerda Hnatyshyn president and chair of the board of The Hnatyshyn Foundation. In 2008 he was awarded the Bell Award in Video Art. Douglas is represented by David Zwirner, New York and Victoria Miro Gallery, London. A survey of his recent work, Stan Douglas: Mise en scène, traveled Europe from 2013 until the end of 2015. Between 2004 and 2006 he was a professor at Universität der Künste Berlin and since 2009 has been a member of the Core Faculty in the Graduate Art Department of Art Center College of Design.

Douglas' work reflects the technical and social aspects of mass media, and since the late 1980s has been influenced by the work of Samuel Beckett. Also of concern is both modernism as a theoretical concept and modernity as it has affected North American urbanism since World War II.

Douglas' work only touches on race directly in a few instances, such as the short video I'm Not Gary (1991). This interpretation of race is important, as the brief narrative involves a white man mistaking a black man for a different black man named Gary, for writer Lisa Coulthard, this is part of a larger investigation of racism as part of imperialism and cultural invisibility. For Coulthard, the lack of mention of race in works that feature only white performers troubles any racial reading of Douglas' work. In a great deal of Douglas' works, class rather than race is the key element. Having grown up in a largely white middle-class neighbourhood in Vancouver, race was only an issue of invisibility rather than civil rights for Douglas.

Although race as a theme is often not a central or obvious concern of Douglas, his own identity as a Black-Canadian is often addressed through his use of music and in particular, musical idioms associated with African-American culture, such as blues and jazz. In particular, Douglas points to the cultural prejudices which associate the "primitive" with black music, while the European musical tradition is positioned as "high culture". This binary between primitive and civilized is further complicated when considering jazz and its position as both "race music" but also highly cultured and in particular the European embracing of jazz as high art.