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\"long_desc\": \"Recorded at Video Free America in San Francisco, this work is a phenomenological inquiry into the audience\/performer relationship and the notion of subjectivity\/objectivity. Graham stands in front of a mirrored wall facing a seated audience; he describes the audience's movements and what they signify. He then turns and describes himself and the audience in the mirror. Graham writes: \\"Through the use of the mirror the audience is able to instantaneously perceive itself as a public mass (as a unity), offsetting its definition by the performer ('s discourse). The audience sees itself reflected by the mirror instantly while the performer's comments are slightly delayed. First, a person in the audience sees himself 'objectively' ('subjectively') perceived by himself, next he hears himself described 'objectively' ('subjectively') in terms of the performer's perception.\\"\",
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\"short_desc\": \"A legendary figure in contemporary art, Dan Graham has helped to redefine the role of the artist today. From his early magazine pieces, photography, films and video works, to his critical writings and architecture projects, Graham has pushed the boundaries of what culture is and how it functions. He is also an enthusiastic fan and observer of rock culture and its rituals, and has worked with many of the important figures in the New York music scene.\",
\"long_desc\": \"Tony Oursler's <i>Synesthesia<\/i> project features interviews with twelve legendary figures in the downtown music, performance and art scenes: John Cale, Thurston Moore, Dan Graham, Genesis P-Orridge, Kim Gordon, Glenn Branca, Laurie Anderson, Tony Conrad, David Byrne, Lydia Lunch, Alan Vega, and Arto Lindsay. These works were originally included as one element of Oursler and Mike Kelley's multimedia installation <i>The Poetics Project<\/i>. These conversations reveal fascinating insights and anecdotes from some of the most influential figures in the experimental rock and art underground of the 1970s and '80s, from pre-punk innovators to post-punk icons, from industrial and avant-garde music to noise bands and No Wave.\r\n<br><br>\r\nA legendary figure in contemporary art, Dan Graham has helped to redefine the role of the artist today. From his early magazine pieces, photography, films and video works, to his critical writings and architecture projects, Graham has pushed the boundaries of what culture is and how it functions. He is also an enthusiastic fan and observer of rock culture and its rituals, and has worked with many of the important figures in the New York music scene.\",
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\"short_bio\": \"Dan Graham's provocative art and theories analyze the historical, social and ideological functions of contemporary cultural systems, including architecture, rock music, and television. In performances, installations, and architectural\/sculptural designs, he investigates public and private, audience and performer, objectivity and subjectivity. Deconstructing the phenomenology of viewing, he manipulates perception with time delay, projections, closed-circuit video, and mirrors.\",
\"long_bio\": \"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural\/sculptural designs.\r\n\r\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\r\n\r\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture. \r\n\r\nGraham was born in 1942. He has published numerous critical essays, and is the author of <i>Video-Architecture-Television<\/i> (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including the Museum of Modern Art, New York; Metropolitan Art Museum, New York; Walker Art Center, Minneapolis; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Moderna Museet, Stockholm; Centre Pompidou, Paris; Tate Collection, London; and Museo Nacional Centro de Arte Reina Sofia, Madrid. He has had recent solo exhibitions at Red Brick Art Museum, Beijing; Zagreb Museum of Contemporary Art, Zagreb; Greene Naftali, New York; The Metropolitan Museum of Art, New York; Le Consortium, Dijon; the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis; Van Abbemuseum, Eindhoven; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and in 2018 had a show entitled: Dan Graham: Dan\u2019s World at Galleri Nicolai Wallner, Copenhagen, Denmark. He has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions. \r\n\r\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, <i>Dan Graham: Beyond<\/i> traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis. He was commissioned by the MET in 2014 to create a piece for the museum's Roof Garden. \r\n\r\nGraham lived and worked in New York until his death in 2022.\",
\"bibliography\": \"Buchloh, Benjamin, ed. <u>Dan Graham, Video Architecture-Television<\/u>, Nova Scotia: The Press of Nova Scotia College of Art & Design\/New York University Press, 1979.<br><br>\r\n<u>Dan Graham<\/u>, Xunta de Galicia, Conseller\u00eda de Cultura e Comunicaci\u00f3n Social, Santiago de Compostela, 1997. Texts by Alexander Alberro, Christine van Assche, Brian Hatton, Adachiara Zevi et al. <br><br>\r\n<u>Dan Graham: Works 1965-2000<\/u>, D\u00fcsseldorf: Richter Verlag, 2001. Texts by Marianne Brouwer, Benjamin Buchloh, Thierry de Duve, Eric de Bruyn, Brian Hatton, John Miller, and Markus M\u00fcller. <br><br>\r\nWallis, Brian, ed. <u>Dan Graham: Rock my Religion. Writings and Art Projects 1965-1990<\/u>. Cambridge: MIT Press, 1993. <br><br>\",
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\"see_also\": \"<a href=\/eai\/tape.jsp?itemID=1311>CASCADE\/Vertical Landscapes<\/b><\/a> by MICA-TV in collaboration with Dike Blair and Dan Graham.\u00a0\",
\"url\": \"<a href=\\"http:\/\/www.diacenter.org\/dia\/press\/grah.html\\"><b><small>Dia Center for the Arts: Dan Graham: Rooftop Urban Park Project<\/b><\/small><\/a>\",
\"notes\": \"No sales permitted of Westkunst (Modern Period): Dan Graham Segment or Performance and Stage ? Set Utilizing Two Way Mirror and Video\r\n<br><br>\r\nVHS exhibition of Rock My Religion FOR EDUCATIONAL USE ONLY, and only if there is stereo sound. Dan?s main concern is that the tape be screened in stereo, amplified; standard VHS decks do not guarantee good sound. For exhibitions, request the purchase or rental of higher formats, if possible. No VHS PAL under any circumstances.\r\n<br><br>\r\nVHS NTSC may be offered for educational use only at $275 with $40 deduction when figuring royalties. 3\/4\\" or BetaSP for exhibition. Stereo system required for exhibition.\r\n<br><br>\r\nGraham says: When my video\/film <i>Rock My Religion<\/i> is shown it should not be shown outdoors or on a big screen. It is more like a film at Film Forum or a small cinema-theater.\r\n**Also represented by \r\n Galerie Micheline Szwajcer\r\n Verlatstraat 14\r\n B-2000 Antwerp \r\n 32.3.237.1127\",
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Wall Text
Wall text displayed in EAI's viewing room at EFA gallery Gallery during the PERFORMA07 performance biennial.
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