Dan Graham Essay Video Architecture

Dan Graham Essay Video Architecture-45
Dan Graham was born in Urbana, Illinois, USA in 1942 and lives and works in New York, USA.He has had solo exhibitions at Sirius Arts Centre, County Cork, Ireland (2018); the Red Brick Museum, Beijing, China (2017); the Museum of Contemporary Art, Zagreb, Croatia (2017); The Cleveland Museum of Art, Cleveland, OH, USA (2016); Columbus Museum of Art, Columbus, OH, USA (2016); MAMO, Marseille, France (2015); ETH Zurich, Switzerland (2015); Turner Contemporary, Margate, UK (2014); The Metropolitan Museum of Art, New York (2014); Kunstmuseum Sankt Gallen, St Gallen, Switzerland (2011); Center for Contemporary Art, Kitakyushu, Japan (2010); Museum of Contemporary Art, Los Angeles, CA, USA (2009); Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy (2006); Museu Serralves, Porto, Portugal (2001); Museum of Modern Art, Oxford, UK (1997); Van Abbemuseum, Eindhoven, The Netherlands (1993); Kunsthalle Berne, Bern, Switzerland (1983); and the Renaissance Society, University of Chicago, Chicago, IL, USA (1981).' For more than 50 years, Graham has shaped a practice that encompasses curating, writing, pavilion architecture, video, photography, and performance in a trans-media mode. His research interests include the legacy of conceptualism and the trajectory of practices centred on the move from studio to a post-studio condition and contemporary modes of art production, circulation and display. In 1964 he began directing the John Daniels Gallery in New York, where he put on Sol Le Witt's first solo show.

Dan Graham was born in Urbana, Illinois, USA in 1942 and lives and works in New York, USA.He has had solo exhibitions at Sirius Arts Centre, County Cork, Ireland (2018); the Red Brick Museum, Beijing, China (2017); the Museum of Contemporary Art, Zagreb, Croatia (2017); The Cleveland Museum of Art, Cleveland, OH, USA (2016); Columbus Museum of Art, Columbus, OH, USA (2016); MAMO, Marseille, France (2015); ETH Zurich, Switzerland (2015); Turner Contemporary, Margate, UK (2014); The Metropolitan Museum of Art, New York (2014); Kunstmuseum Sankt Gallen, St Gallen, Switzerland (2011); Center for Contemporary Art, Kitakyushu, Japan (2010); Museum of Contemporary Art, Los Angeles, CA, USA (2009); Castello di Rivoli Museo d’Arte Contemporanea, Turin, Italy (2006); Museu Serralves, Porto, Portugal (2001); Museum of Modern Art, Oxford, UK (1997); Van Abbemuseum, Eindhoven, The Netherlands (1993); Kunsthalle Berne, Bern, Switzerland (1983); and the Renaissance Society, University of Chicago, Chicago, IL, USA (1981).' For more than 50 years, Graham has shaped a practice that encompasses curating, writing, pavilion architecture, video, photography, and performance in a trans-media mode. His research interests include the legacy of conceptualism and the trajectory of practices centred on the move from studio to a post-studio condition and contemporary modes of art production, circulation and display. In 1964 he began directing the John Daniels Gallery in New York, where he put on Sol Le Witt's first solo show.

With a practice that encompasses curating, writing, performance, installation, video, photography and architecture, his analytical bent first came to attention with Homes for America (1966–67), a sequence of photos of suburban development in New Jersey, USA, accompanied by a text charting the economics of land use and the obsolescence of architecture and craftsmanship.

Graham’s critical engagement manifests most alluringly in the glass and mirrored pavilions, which have been realised in sites all over the world.

He began his career as a writer, and founded and directed the short-lived John Daniels Gallery in New York in 1964, exhibiting the work of a new generation of conceptual and Minimalist artists—including Donald Judd, Sol Le Witt, and Robert Smithson.

This experience had a deep influence on Graham's subsequent work, particularly the artist's relationship to his peers and to the culture at large as well as his interest in art’s economic and social framework.

surveys the artist's career from the mid-1960s to the present.

As one of contemporary art's most innovative and influential figures, Dan Graham has been at the forefront of many of the most significant developments in art, including conceptual art, video and film installation, performance, site-specific sculpture, and musical collaboration.Our editors will review what you’ve submitted and determine whether to revise the article.Join Britannica's Publishing Partner Program and our community of experts to gain a global audience for your work!These instruments of reflection – visual and cognitive – highlight the voyeuristic elements of design in the built world; poised between sculpture and architecture, they glean a sparseness from 1960s Minimalism, redolent of Graham’s emergence in New York in the 1960s alongside Sol Le Witt, Donald Judd and Robert Smithson.Graham himself has described his work and its various manifestations as ‘geometric forms inhabited and activated by the presence of the viewer, [producing] a sense of uneasiness and psychological alienation through a constant play between feelings of inclusion and exclusion.’ Considering himself first and foremost a writer-artist, Graham's writings and periodicals from the 1960s, including Figurative (1965) and Schema (1966), include published essays and reviews on everything from rock music and television culture to Dean Martin and Dwight D. These publications, predating Conceptual art, were a rejection of the limits of the art gallery’s ‘white cube’ format and an embrace of the ubiquity and disposable nature of monthly periodicals.Graham's performances of the 1970s and his architectural pavilions of the 1980s to the present, with their kaleidoscopic refraction of bodily experience, demonstrate his interest in revealing the private self as part of a social, public context.The fluid, democratic quality of Graham's work continues to exert a powerful influence on younger generations of artists.Dan Graham, (born March 31, 1942, Urbana, Illinois, U.S.), American artist whose work addressed such notions as the dual role of the viewer (or audience) as both perceiver and perceived.His desire for a connection to others mirrors our own; yet his work offers a way to critically explore that desire at a moment when interconnectivity and instant feedback are conditioning our collective consciousness to an unprecedented, global degree.The exhibition is co-organized by Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum of American Art, and Bennett Simpson, associate curator, Museum of Contemporary Art, Los Angeles. Additional support for the Whitney’s presentation is provided by the National Committee of the Whitney Museum of American Art, Donald R. Whitney Museum of American Art, NY; purchase with funds from the Film and Video Committee 2000.170.

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    Daniel "Dan" Graham born March 31, 1942 is an American artist, writer, and curator. Graham. Graham also incorporated video into installations, creating environments where. Many of the books are a collection of essays about his works. 1995, Dan Graham, Video/Architecture/Performance, EA-Generali-Foundation.…

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    Your browser does not currently recognize any of the video formats available. "Two Way Mirror / Hedge Arabesque" - Dan Graham - All'Aperto 2014. "My work is always about how viewers see themselves," says Graham. In his essay "Garden as Theater as Museum" 1988, Graham interprets.…

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