Rodney Graham

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Dan Graham
Beyond

Dan Graham is one of the most significant figures to emerge from the 1960s moment of Conceptual art, with a practice that pioneered a range of art forms, modes, and ideas that are now fundamental to contemporary art. The thrust of his practice has always pointed beyond: beyond the art object, beyond the studio, beyond the medium, beyond the gallery, beyond the self. Beyond all these categories and into the realm of the social, the public, the democratic, the mass produced, the architectural, the anarchic, the humorous. Graham’s early work, Homes for America–a series of snapshots of suburban New Jersey tract housing accompanied by short parodic texts, made as a page layout for Arts magazine–announced a critical art grounded in the everyday, and it merged the artist’s interest in cultural commentary with art’s most advanced visual modes. His 1984 “video-essay” Rock My Religion traced a continuum of separatism and collective ecstasy from the American religious sect the Shakers to hard-core punk music.

This volume, which accompanies a major retrospective organized by the Museum of Contemporary Art, Los Angeles, offers the first comprehensive survey of Graham’s work. The book’s design evokes magazine format and style, after Graham’s important conceptual work from the 1960s in that medium. Generously illustrated in color and black and white, Dan Graham: Beyond features eight new essays, two new interviews with the artist, a section of reprints of Graham’s own writing, and an animated manga-style “life of Dan Graham” narrative. It examines Graham’s entire body of work, which includes designs for magazine pages, drawing, photographs, film and video, and architectural models and pavilions.
Essays : Chrissie Iles on Graham’s performance work; Bennett Simpson on Graham’s interest and works in rock music; Beatriz Colomina on Graham’s architectural pavilions; Rhea Anastas on Graham’s early formation and short-lived operation of the John Daniels Gallery; Mark von Schlegell on Graham’s interest in science fiction; Mark Francis on Graham’s Public Space/Two Audiences (1976); Alexandra Midal on Graham’s conceptual works for magazine pages and magazine design; Philippe Vergne on Graham’s puppet opera Don’t Trust Anyone Over Thirty (2004); Kim Gordon interview with Graham on their collaborations and music; Rodney Graham interview with Graham on jokes and humor in art.

Due to the weight of this over-sized book, additional postage may be required.

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Artists’ Cocktails
by Ryan Gander

Artists’ Cocktails by Ryan Gander – A compendium of artists’ cocktails

with Åbäke, Allora & Calzadilla, Spencer Anthony, Cory Arcangel, Art & Language, Jesse Ash, Mary Aurory, Fiona Banner, David Batchelor, Justin Beal,  Jacqueline Bebb, Vanessa Billy, Pierre Bismuth, Martin Boyce, Pavel Büchler, Dinos Chapman, Steve Claydon, Keren Cytter, Jeremy Deller, Joseph del Pesco, Anthony Discenza, Rose Duvall, Sean Edwards, Vivi Enkyo, Aston Ernest, Winnie Ernest, Abbé Faria, Claire Fontaine, Simon Fujiwara, Michael Fullerton, Martino Gamper, Ryan Gander, Mario Garcia Torres, Tom Gidley, Liam Gillick, Matt Golden, Rodney Graham, Irwin Green, Joseph Grigely, Sigurdur Gudmundsson, Drew Heitzler, Anton Henning, Mark Hix, The Hut Project, Pierre Huyghe, Taka Izumi, Christian Jankowski, Alan Kane, Jacob Kassay, Gabriel Kuri, Tim Lee, Gabriel Lester, Benoît Maire, Raimundas Malašauskas, Kris Martin, Christian Matthiessen, Alan Michael,  Haroon Mirza, Jonathan Monk, Jody Monteith, Sarah Morris, Olivier Mosset,  Shahryar Nashat, John Henry Newton, Carsten Nicolai, Olaf Nicolai, Nishikawa, David Noonan, Roman Ondák, Pratchaya Phinthong, Tobias Rehberger, David Renggli, Amanda Ross-Ho, Eran Schaerf, David Shrigley, Lucy Skaer, Bob and Roberta Smith,  Nedko Solakov, Haim Steinbach, Santo Sterne, Jack Strange, Rirkrit Tiravanija, Mark Titchner, Santo Tolone, Simon Turnbull, Uri Tzaig, Francis Upritchard, Yonatan Vinitsky, Carl Michael von Hausswolff, Lawrence Weiner, Terrance E. White, Bedwyr Williams, Jesse Wine, John Wood & Paul Harrison, Cerith Wyn Evans…

“I have something for you, I’ll send it over. You know for four years now I have been trying to propagate shiso and it hasn’t grown. I tried everything: freezing and thawing the seeds, leaving them in the dark for a year, different temperatures and humidity… The seeds Taro sent me in February came up no problem, just in fine soil with a sheet of paper over the pot outside, no special equipment or lights. Crazy. The kitchen garden at home is now being taken over by green shiso plants with huge leaves everywhere. We have a glut, as the English call it. Fearful of it not reseeding and growing next year I’ve been stripping the leaves and producing shiso sugar syrup and shiso-infused vodka. The vodka is unbelievably good! I thought of proposing it to ABSOLUT as a new flavour. We’ll see. Anyway, I have a bottle for you! ”
Extract from: [Extracts from… ] A conversation between Ryan Gander and Masako Hosoi

Edited by Ryan Gander, Phil Mayer with editorial assistance by Holly Featherstone, Barnie Page and Anna Stoppa.
Design by Åbäke with Delphine Bourit.

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Robert Walser
Microscripts

Swiss writer Robert Walser (1878-1956) worked as a bank clerk, a butler in a castle, and an inventor’s assistant, and produced nine novels and more than a thousand stories. He stopped writing in 1933 when he was hospitalized for mental illness, declaring, “I am not here to write, but to be mad.”

Robert Walser wrote many of his manuscripts in a highly enigmatic, shrunken-down form. These narrow strips of paper (many of them written during his hospitalization in the Waldau sanatorium) covered with tiny ant-like markings only a millimeter or two high, came to light only after the author’s death in 1956. At first considered a secret code, the microscripts were eventually discovered to be a radically miniaturized form of a Germanic script: a whole story could fit on the back of a business card. Selected from the six-volume German transcriptions from the original microscripts, these twenty-five short pieces are gathered in this gorgeously illustrated co-publication with the Christine Burgin Gallery. Each microscript is reproduced in full color in its original form: the detached cover of a trashy crime novel, a disappointing letter, a receipt of payment. Sometimes Walser used the pages of small tear-off calendars (but only after cutting them lengthwise and filling up each half with text). Schnapps, rotten husbands, small town life, the radio, pigs (and how none of us can deny being one), jealousy, Van Gogh and marriage proposals are some of Walser’s subjects. These texts take strength from Walser’s motto: “To be small and to stay small.”

W.G. Sebald called Robert Walser “a clairvoyant of the small,” and nowhere is the phrase more apt than in his “microscripts.”

“The incredible shrinking writer is a major twentieth-century prose artist who, for all that the modern world seems to have passed him by, fulfills the modern criterion: he sounds like nobody else.” — Benjamin Kunkel, The New Yorker

“One of the profoundest products of modern literature.” – Walter Benjamin

Translated by Susan Bernofsky.  Contributions by Walter Benjamin.

Prize-winning translator Susan Bernofsky has translated numerous works by Robert Walser including The Microscripts, The Tanners, and The Assistant. She is currently at work on a biography of Robert Walser

Walter Benjamin was a German-Jewish Marxist literary critic, essayist, translator, and philosopher. He was at times associated with the Frankfurt School of critical theory and is the author of Illuminations, The Arcades Project, and The Origin of German Tragic Drama.

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A Little Ramble: In the Spirit of Robert Walser

Contemporary artists respond to the work of Robert Walser.

A Little Ramble: In the Spirit of Robert Walser was initiated by the gallerist Donald Young, who saw in Robert Walser an exemplary figure through whom connections between art and literature could be discussed anew. He invited a group of artists to create and exhibit work in response to the writings of Robert Walser. This book is a result of that collaboration.

A Little Ramble is a Walser reader of material chosen by the artists. There are Walser love stories discovered by Thomas Schütte in the 70s appearing here for the first time in English, translated by Susan Bernofsky; the poem Snow which inspired Rosemarie Trockel also newly translated for this edition by Christopher Middleton; the little known Walser story A Painter’s Life illustrated by Josiah McElheny; Pantoums by Rodney Graham based on the first line of Walser’s Berlin stories and excerpts from Wandering with Walser, conversations with Walser recorded by his guardian, Carl Seelig, chosen by Moyra Davey to name only a few. Also included in the book is an afterword by Lynne Cooke and an introduction by Donald Young.

Robert Walser (1878–1956) was born in Switzerland. He left school at fourteen and led a wandering and precarious existence working as a bank clerk, a butler in a castle, and an inventor’s assistant while producing essays, stories, and novels. In 1933 he abandoned writing and entered a sanatorium—where he remained for the rest of his life. “I am not here to write,” Walser said, “but to be mad.”

Distinguished poet and translator Christopher Middleton lives in Austin, Texas. His awards include the Geoffrey Faber Memorial Prize and the Schegel-Tieck Translation Prize.

Prize-winning translator Susan Bernofsky has translated numerous works by Robert Walser including The Microscripts, The Tanners, and The Assistant. She is currently at work on a biography of Robert Walser

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