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Rodney Graham
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Rodney Graham
Canadian artist Rodney Graham strolls in his works through the landscape of Modernism. On his meandering itinerary through photography, literature, music, art, film, psychology, and linguistics, we encounter Richard Wagner, Stéphane Mallarmé, Edgar Allen Poe, Sigmund Freud, and Donald Judd – not to mention the prevalent myths of cinema and popular music. The contradictions engendered thereby – between conceptual gravity and humorous play, reverential homage and scenarized self-presentation, cultural ready mades and a sense of connectedness to nature – betray the profile of a contemporary melancholic. Now for the first time, Dorothea Zwirner's introduction to Rodney Graham's complete works – including a representative selection of works with artist's commentary – offers a broad monographic overview.
The Central Questions of Philosophy
In this introduction to some of the most frequently discussed areas of philosophy, Sir Alfred Ayer made his subject accessible to both the general reader and the student. Among the topics covered are the nature of philosophy, varieties of philosophical analysis, theory of knowledge, status of physical objects, relations between body and mind, character of scientific explanation, theory of probability, elements of logic and the claims of theology. Although it ranges more widely, the book invites comparison with Bertrand Russell's The Problems of Philosophy.
Rodney Graham
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Rodney Graham: Wet on Wet
Vancouver Conceptualist Rodney Graham defies categorization by employing multiple styles and working in diverse media including photography, film, performance, music and text. One of the most gratifying artist's books ever to grace D.A.P.'s list, Wet on Wet: My Late Early Styles presents a new body of work reflecting on the practice of painting. For Wet on Wet Graham adopts the eccentric persona of the "gifted amateur," a recurrent figure in his recent work. He presents 22 oils and one acrylic work in a variety of styles, placing painting in the context of a post-medium practice. Graham credits music with informing much of his work. A musician himself, he views his role as an artist as an extension of the idea of performance. His work examines social and philosophical systems of thought, in particular those derived from the transition of the Enlightenment into Modernism.
Rodney Graham : Lightboxes : [Ausstellung, Baden-Baden, Museum Frieder Burda, July 8 - November 26, 2017
This book, designed in close co-operation with the artist, accompanies the exhibition at Museum Frieder Burda. It presents Graham's 36 photo light boxes from 2000 to the present, among them key works like the Newspaper Man. The central focus is on the manifold ways in which Graham has staged himself. He always gives the impression of a melancholy time traveller, a modern-day Buster Keaton, negotiating the trials and tribulations of modern culture in various guises
The Rodney Graham Songbook
Rodney Graham is internationally acclaimed for his literary and conceptual artworks, cinematic installations, costume dramas and as a singer-songwriter. Over the years, he has blurred the line between visual art and music with works such as How I Became a Ramblin' Man, Zabriskie Point and The Phonokinetoscope. In This Is the Only Living I've Got, Don't Take It Away From Me he compiles 37 songs from his CDs and records and transcribes them into sheet music with notations for piano, guitar tablature and lyrics. The form is that of a popular songbook, featuring images of the artist, his band and new artwork. The material includes "The Bed Bug," "Love Buzz, And Other Short Songs in the Popular Idiom," "Getting it Together in the Country," "Rock is Hard," and "Never Tell a Pal A Hard Luck Story." With a CD of rare covers and two brand new tracks.
Fantasies of the Library
A book that acts both as library and exhibition space, selecting, arranging, and housing texts and images, aligning itself with printed matter in the process. Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas—as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (huma...
