Edited with text by Alessandro Vincentelli. Text by Patrik Andersson, Briony Fer, Robert Linsley, Sarah Munro, Harry Pearson.
The figure of the artist remains a central subject of investigation for Vancouver artist Rodney Graham (born 1949), who is known for straddling many vocations simultaneously: painter, photographer, writer, philosopher, actor, psychologist, scientist and musician. This new monograph, published for Graham’s exhibition at the BALTIC Centre in the UK, gathers works made between 1994 and 2017—in particular his photographic lightboxes and his musical production—that focus on the self-portrait. Graham shows himself starring in various fictional roles (artist, musician, actor, lighthouse keeper, paddler, reader). In her essay, Briony Fer observes that “as much as Graham makes pictures that cohere as mise-en-scènes, and that operate self-reflexively to speculate on the very mechanics of the image, so it is impossible to keep all the allusions in check.”
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FORMAT: Pbk, 9.25 x 11.5 in. / 192 pgs / 150 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $60 ISBN: 9783037645123 PUBLISHER: JRP|Ringier AVAILABLE: 9/26/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA AU/NZ AFR ME
Published by JRP|Ringier. Edited with text by Alessandro Vincentelli. Text by Patrik Andersson, Briony Fer, Robert Linsley, Sarah Munro, Harry Pearson.
The figure of the artist remains a central subject of investigation for Vancouver artist Rodney Graham (born 1949), who is known for straddling many vocations simultaneously: painter, photographer, writer, philosopher, actor, psychologist, scientist and musician. This new monograph, published for Graham’s exhibition at the BALTIC Centre in the UK, gathers works made between 1994 and 2017—in particular his photographic lightboxes and his musical production—that focus on the self-portrait. Graham shows himself starring in various fictional roles (artist, musician, actor, lighthouse keeper, paddler, reader). In her essay, Briony Fer observes that “as much as Graham makes pictures that cohere as mise-en-scènes, and that operate self-reflexively to speculate on the very mechanics of the image, so it is impossible to keep all the allusions in check.”
