DOCSLIB.ORG

Bringing People Together Through Interactive Artworks: an Interview with Jeppe Hein – Urban Times 24.11.2014 13:11

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bringing People Together Through Interactive Artworks: an Interview with Jeppe Hein – Urban Times 24.11.2014 13:11 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein 3rd November 2014 Thejas Jagannath ! 1174 points • 132 posts Learn more about Jeppe Hein's transforming artwork in this interview! more info " This is a community post, untouched by our editors. Jeppe Hein has produced many experiential artworks. He bases his artworks on interactive and community oriented features. Jeppe Hein is a famous artist based in Berlin and Copenhagen. He has produced artworks that have been showcased around the world. For instance, appearing rooms which is a water fountain at The South Bank Centre, London has become very successful and popular among residents. He also experiments with mirror and minimalist/conceptual art forms which gives people a reason to connect and draw meaning from his art. He has also contributed a lot to public art as his artworks are usually featured in public spaces. This makes them more accessible so that everyone can enjoy them in the urban realm. https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 1 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 I had the opportunity to interview Jeppe Hein. In this interview, he provides some great insights into his artworks, why he makes them interactive and public, and the things we can expect to see from him in the future. Take a look at our conversation below: Thejas: Why do you choose to make your sculptures interactive to the public? Jeppe: In my view, the concept of sculpture is closely linked to communication. Rather than passive perception and theoretical reflection, the visitor’s direct and physical experiences are more important to me. A level of immediate perception is only achieved with an artwork that the viewer is directly involved with. Thus interaction is a distinctive element of my artwork and the viewer plays a vital role. https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 2 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 Thejas: What type of artform do you practice with your sculptures? Some call it minimalist or conceptual art – what do you classify it as? Jeppe: Although I see myself in the traditions of Minimalism and Conceptual art, I would not consider myself being part of a particular movement. I would rather say I have been inspired by other artists like Dan Graham, Robert Morris, Robert Smithson, Larry Bell, Olafur Eliasson and Asger Jorn, because they all work with communication and experience. Their works are always physically present and perceptible. People shall not only look at them, but also feel them. My artistic approach is a similar one. Thejas: Public art brings new meanings to people around them and can form a communal feeling. What are some of your artworks, which are interactive to the public? How do they convey meaning? https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 3 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 Jeppe: Almost all of my artworks are interactive to the public and offer the possibility https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 4 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 of participating in the action of a piece, of being confronted with the surprise of the unexpected. By challenging the physical attention of the viewer, an active dialogue between artwork, surrounding and other visitors is established. My Modified Social Benches, for example, borrow the basic form from normal park or garden benches seen everywhere, but are altered in various degrees to make the act of sitting on them a conscious physical endeavour. Each bench has feet, offers space to sit and a back to lean on. But unlike usual benches, it consists of elongated, winding, rapidly rising or falling lines of seating with high arches, sharp bends or small loops. With it’s modification, the space it inhabits become active rather than places of rest and solitude; it fosters exchange between the users and the passers-by, thus lending the work a social quality. Due to its alterations, the bench end up somewhere between a dysfunctional object and a functional piece of furniture and thus point out the contradiction between artwork and functional object. The visitor can use it as a bench and sit on it. At the same time, the bench has its own sculptural quality, thus inviting the viewer to look at it and to walk around and through its structure. Thejas: You are known to experiment with mirror sculptures such as Reflecting Frequencies in Denmark. Why do you have a fascination with mirrors? Jeppe: Mirrors alter and question our perception of our surroundings and ourselves by increasing and multiplying the heterogeneity of a space for example. Mirrors make us reflect on our own presence by addressing our physical and mental experience of an environment and our position within it. Viewers become aware of the limitations as well as the possibilities inherent in the act of looking. So, my mirror installations always refer to the presence of the visitor and the artwork in the space asking the audience: Why are you here? What are you doing here? How do you observe artwork and space? How are you observed by artwork and space? Thejas: How does your art redefine the public space? Jeppe: In my opinion, an artist generally should be a kind of seismograph perceiving the atmosphere of a space as well as its influence on people’s mood and behaviour https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 5 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 transferring it to the artwork in order to change, add or highlight special features. I think art can be a tool to create a system of reference between space and viewer, by which I https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 6 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 attempt to break traditional attitudes and expectations of art. Art, similar to architecture, is a way of expression in space with communicative and functional aspects, with the capacity to intervene in the field of social interaction and to form social constellations. Therefore, I consider art in public as a social sign with the ability to provoke and challenge communication and reflection. This is particularly relevant at a time when places for communication – such as free, creative spaces and areas designed to enable interaction and involve people in a dialogue with the surroundings and others – are absent from most contemporary cities. Thejas: Is it the nature of the sculpture or the type of people attracted to the sculpture that makes it interactive in public art? Does the type of material you use contribute to how interactive a sculpture is? Jeppe: Generally, I think art should be created for people. Instead of placing an artwork without reference or connection to architecture and audience in public space, social aspects should be considered during its development and the dialogue https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 7 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 between object, space and observers should be enhanced by a piece. The open character of public spaces offers the opportunity to work in a very conceptual way. Without any institutional restrictions, the conditions of nature, space, the public and the surroundings can be reflected then translated into an artistic https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 8 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 surroundings can be reflected then translated into an artistic idea. Moreover artworks in public space open up new possibilities for the viewer to lose his timidity and respect towards art. When people see an art piece developed and integrated in public space, it is often easier for them to get a first access to it. Material is a medium for me to promote exchange between viewer and artwork. Sometimes industrial made material is suitable for this purpose, sometimes hand-made material is the best choice. Most industrial made materials, like mirrors or neon tubes, are a part of our everyday life. People are used to it nowadays and interact with it constantly – often without even recognizing it. I try to utilize this unnoticed acquaintance and growing acceptance in my installations to attract people’s attention. Thejas: Can you tell us about your work Appearing Rooms fountain at the South Bank Centre in London? Jeppe: Appearing Rooms is a programmed water pavilion that comes across as a labyrinth https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 9 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 made out of four outer water walls in the shape of a square, which is sub-divided https://urbantimes.co/2014/11/bringing-people-together-through-interactive-artworks-an-interview-with-jeppe-hein/ Seite 10 von 29 Bringing People Together Through Interactive Artworks: An Interview With Jeppe Hein – Urban Times 24.11.2014 13:11 into smaller spaces by four independent walls within the structure.
Load more

Recommended publications
  • Press Dan Graham: Mirror Complexities Border Crossings
    MARIAN GOODMAN GALLERY Dan Graham: Mirror Complexities By Robert Enright and Meeka Walsh (Winter 2009) Public Space/Two Audiences, 1976. Courtesy Marian Goodman Gallery, New York “I like to get into new areas,” Dan Graham says in the following interview, “and I like them to be in a borderline situation, rather than definitively one thing.” For over 50 years, Graham has located himself in a number of borderline situations, and from that position of in-betweenness has made an art of perplexing simplicity. Critics generally assign his Schema, 1966, a series of instructional sheets that gave editors sets of data for the composition of printed pages, a generative place in the history of conceptual art. But the various Schema were themselves in border zones of their own, part poetry, part criticism, part visual art. Their newness was in their indeterminacy. Similarly, the deliberately uninflected and abstract photographs he took in 1966 of tract houses, storage tanks, warehouses, motels, trucks and restaurants, subjects he passed in the train on his way into New York from the suburbs, occupied two zones in his mind. In his own estimation, he was “trying to make Donald Judds in photographs.” His first pavilions, beginning with Public Space/Two Audiences made for the Venice Biennale in 1976, were a cross between architecture and sculpture. His cross-disciplinary mobility functioned in all directions: Sol LeWitt’s early sculptures encouraged Graham’s interest in urbanism because the sculptures seemed to him to be about city grids. It’s because of this overall sense of one category of art drifting into another that Graham says, “all my work is a hybrid.” His idea of hybridity was predicated upon an intense degree of experiential involvement; in performance/video works like Nude Two Consciousness Projection(s), 1975, and Intention Intentionality Sequence, 1972, the audience was part of the performance; just as audience involvement was also critical in a number of the pavilions.
    [Show full text]
  • Press Release
    Press Release Dan Graham Rock ‘n’ Roll 3 October – 3 November 2018 27 Bell Street, London Opening: 2 October, 6 – 8pm For his tenth exhibition with Lisson Gallery, Dan Graham draws on his long-standing history working with music and performance to present a new stage-set design, alongside over-sized models, video and a courtyard pavilion, exploring the relationship between audience and performer. Based in New York, Graham is an icon of Conceptual art, emerging in the 1960s alongside artists such as Dan Flavin, Donald Judd and Sol LeWitt. A hybrid artist, he has been at the forefront of many of the most significant artistic developments of the last half-century, including site-specific sculpture, video and film installation, conceptual and performance art, as well as social and cultural analysis through his extensive writings. Delving into the performative in the early 1970s – exploring shifts in individual and group consciousness, and the limits of public and private space – Graham’s practice evolved into the installations and pavilions for which he is famous internationally. Today, his work continues to evolve with the world around it, taking on a different reading in the age of social media, photography and obsessive self-documentation. A recent work such as Child’s Play (2015-2016), which was on display recently in Museum of Modern Art’s Sculpture Garden, is from a group of works that Graham describes as fun houses for children and photo ops for parents. The artist’s latest presentation of work focuses on the relationship between musical performance and audience. The space at 27 Bell Street will be occupied by a curvilinear stage-set which visitors will be able to walk around.
    [Show full text]
  • GNR SP | Dan Graham | Preview with Installs | EN.Indd
    exhibition view, galeria nara roesler | são paulo, 2017 exhibition view, galeria nara roesler | são paulo, 2017 exhibition view, galeria nara roesler | são paulo, 2017 exhibition view, galeria nara roesler | são paulo, 2017 exhibition view, galeria nara roesler | são paulo, 2017 Galeria Nara Roesler | São Paulo is pleased to present a solo exhibition of Dan Graham’s works (b. Urbana, IL, USA, 1942), on view August 12 through November 12, 2017. The first exhibition of Graham’s work at Galeria Nara Roesler features Pavilion (2016), a new work created specifically for the occasion, in addition to six untitled maquettes (2011–2016) and the video work Death by Chocolate: West Edmonton Shopping Mall (1986–2005). Parallel to the exhibition, the Museum of Image and Sound will screen two of the artist’s emblematic video works: Rock My Religion (1982–1984) and Don’t Trust Anyone Over 30 (2004). Presented in collaboration with Galeria Nara Roesler, the screenings will take place at the museum on Sunday, August 13, at 4pm, followed by a roundtable with guests including Marta Bogéa, Agnaldo Farias and Solange Farkas, who will engage in a discussion about Graham’s works, also at the Museum. Untitled, 2016 2-way mirror glass, aluminium, MDF and acrylic ed 1/3 42 x 107 x 125 cm Sem Título, 2016 2-way mirror glass, aluminium, MDF and acrylic 42 x 107 x 125 cm Untitled, 2011 2-way mirror glass, aluminium, MDF and acrylic ed 1/3 71 x 107 x 107 cm Exhibited across the globe, Dan Graham’s pavilions are emblematic of his critical engagement with the visual and cognitive parameters of architectural language within and outside of art institutions.
    [Show full text]
  • Press Dan Graham: Whitney Museum of American Art Artforum, October
    MARIAN GOODMAN GALLERY Dan Graham: WHITNEY MUSEUM OF AMERICAN ART By Hal Foster (October 2009) OF ACTIVE ARTISTS over the age of sixty in the United States, Dan Graham may be the most admired figure among younger practitioners. Though never as famous as his peers Robert Smithson, Richard Serra, and Bruce Nauman, Graham has now gained, as artist-critic John Miller puts it, a “retrospective public.” Why might this be so? “Dan Graham: Beyond,” the excellent survey curated by Bennett Simpson of the Museum of Contemporary Art, Los Angeles (the show’s inaugural venue), and Chrissie Iles of the Whitney Museum of American Art in New York, offers ample reasons. If Minimalism was a crux in postwar art, a final closing of the modernist paradigm of autonomous painting and a definitive opening of practices involving actual bodies in social spaces, its potential still had to be activated, and with his colleagues Graham did just that. (This moment is nicely narrated by Rhea Anastas in the catalogue for the show.) “All my work is a critique of Minimal art,” Graham states (in an intriguing interview with artist Rodney Graham also in the catalogue); “it begins with Minimal art, but it’s about spectators observing themselves as they’re observed by other people.” Hence many of the forms associated with his work: interactions between two performers; performances by the artist that directly engage audiences; films and videos reflexive about the space of their making; installations involving viewers in partitions, mirrors, and/or videos; architectural models; and pavilions of translucent and reflective glass.
    [Show full text]
  • Dan Graham Nuggets New and Old Writing on Art, Architecture, And
    Dan Graham Critical dialogues Nuggets Dan Graham (born in 1942, lives in New York City), began directing the New and Old Writing John Daniels Gallery (NY) in 1964, where he put on Sol LeWitt's first one-man show. In the group shows he organized he exhibited the works on Art, Architecture, of Donald Judd, Dan Flavin, and Robert Smithson. Like these artists, Graham considered himself a writer-artist, publishing essays and and Culture reviews on rock music, Eisenhower's paintings, and Dean Martin's television show. His earliest work dealt with the magazine page, and one Program of his seminal early works was a series of magazine-style photographs Positions Series with text, “Homes for America” (1966–1967). Focusing on cultural ______________________________________ phenomena, and incorporating photography, video, performance, glass Edited by and mirror structures, Dan Graham's practice has become a key part of Kathy Slade the Conceptual art canon. He is a highly influential figure in the field of ______________________________________ contemporary art, both as a practitioner and as a well-respected critic and theorist. Authors Dan Graham This volume brings together texts written on various artists he admires, ______________________________________ as well as interviews collected since the 1990s, most notably on his Edition large-scale installations incorporating mirrors—a culmination of his long English examination of the psychological relationship between people and December 2013 architecture. ISBN: 978-3-03764-198-9 Softcover, 150 x 210 mm This book is part of the “Positions” series, co-published with Les 160 pages presses du réel and dedicated to artists' writings. Images 17 b/w CHF 20 / EUR 15 / £ 12.95 / US Co-published with ECU Press, Vancouver.
    [Show full text]
  • John Chamberlain
    John Chamberlain John Chamberlain was born in 1927 in Rochester, Indiana. He grew up in 1. Luftschloss, 1979 10. Gondola T. S. Eliot, 1981 Chicago and, after serving in the United States Navy from 1943 to 1946, he Painted and chromium-plated steel Painted steel attended the Art Institute of Chicago in the early 1950s. In 1955 and 1956, 2. The Hot Lady from Bristol, 1979 11. Gondola W. H. Auden, 1981 Painted steel Chamberlain studied and taught sculpture at Black Mountain College, near Painted and chromium-plated steel Asheville, North Carolina. He moved to New York in 1956 and the following 3. American Barge, 1979 12. Daddy in the Dark, 1988 Urethane foam and canvas Painted and chromium-plated steel year made Shortstop, his first sculpture incorporating scrap metal from cars. Collection Louise and Leonard Riggio Chamberlain’s first major solo show was presented at the Martha Jackson 4. Black Cherry-No-Cal, 1971 Videotapes transferred to digital files, 13. Black Satin Custard, 1980 Art of Assemblage Gallery, New York, in 1960. His work was included in the black-and white, sound Painted and chromium-plated steel exhibition at the Museum of Modern Art, New York, in 1961, and he began Courtesy Castelli Gallery, New York 14. Chickmeat, 1979 showing at Leo Castelli’s New York gallery in 1962. Chamberlain had his first 5. Hit Height Lear, 1979 Painted and chromium-plated steel Painted and chromium-plated steel retrospective in 1971 at the Solomon R. Guggenheim Museum, New York, and 15. Thordis’ Barge, 1980–81 the Museum of Contemporary Art, Los Angeles, held a second retrospective 6.
    [Show full text]
  • Graham, New American Film and Video Series”, Whitney Museum of American Art, New York
    Dan Graham b. 1942 Urbana, Illinois Awards 1992 Coutts Contemporary Art Foundation Award Skowgenen Award 1993 City of Nantes Solo Exhibitions 1969 John Daniels Gallery, New York City 1970-71 Anna Leonowens Gallery, Nova Scotia College of Art, Halifax The Mezzanine, Nova Scotia College of Art, Halifax 1972 Fourth Floor Gallery, Halifax, Nova Scotia Lisson Gallery, London (exh cat) Protech-Rivkin Gallery, Washington DC Galleria Toselli, Milan Project Inc, Cambridge, Massachusetts Gallery A 402, California Institute of the Arts, Valencia, California 1973 Galerie MTL, Brussels Galerie Zwirner, Cologne Galleria Schema, Florence Gallery A 402, Institute of Arts, Valencia 1974 Galleria Marilena Bonomo, Bari, Italy Galerie 17, Paris Royal College of Art, London Lisson Gallery, London Galerie MTL, Brussels Epson School of Art, ‘Performance and Films’, Surrey 1975 Modern Art Agency, Naples John Gibson Gallery, New York Palais des Beaux-Arts, Brussels Internationaal Cultureel Centrum, Antwerp Griffiths Art Centre, St Lawrence University, Canton, New York Otis Institute Gallery (with Mowry Baden), Los Angeles 1976 Sperone Westwater Fischer, New York Salle Patino, Geneva, Switzerland (exh cat) Samangallery, Genoa Galerie Vega, Liege, Belgium New Gallery, ICA, London Anne-Marie Verna, Zürich Galleria Banco, Brescia Kunsthalle Basel, Switzerland (exh cat) 1977 "Video Piece for two Glass Buildings", Leeds Polytechnic Gallery Rene Block Galerie, Berlin "Articles", Van Abbemuseum, Eindhoven (exh cat) Studio Terelli, Ferrara Museum van Hedendaagse Kunst,
    [Show full text]
  • The Radically Reworked Perceptions of Multimedia Artist Dan Graham
    The Radically Reworked Perceptions of Multimedia Artist Dan Graham By Michael Smith (December 28, 2017) Photography Sebastian Kim Since the late 1990s, the artist Dan Graham has worked out of his loft in Nolita, a New York neighborhood that has undergone extensive gentrification over the last two decades. On a recent visit, I spotted a pop-up skateboard-and-backpack store teeming with young shoppers a few steps from Graham’s door. Maybe Graham likes it this way, as he’s written so much on rock music and youth culture, and has even designed public structures for children. You never know what his frenetic mind is going to latch on to next. Whether it’s a spontaneous evocation of David Koresh and Waco during a quiet walk through Donald Judd’s Marfa compound; bringing up an anecdote at the most inappropriate moment; or his amazing, almost encyclopedic recall of information that would give most savants a run for their money, Graham, now 75, never ceases to surprise. He’s deeply into astrology. Anyone who meets him almost always enters into his constellation of astrological annotations. He’s an Aries, indicating spontaneity. He’s also into clichés, architecture, music, art, puppets, mixtapes, and TV comedy. I’ve known Graham since the mid-’80s, when the art world was a much smaller place. Today, of course, most people know Graham as an icon, the quintessential hybrid artist whose practice has encompassed a range of media, disciplines, and contexts, including video art (of which he was an early pioneer), architecture, performance, photography, literature, and most notably, a series of steel-and-glass pavilions.
    [Show full text]
  • Dan Graham Lives and Works in New York, NY, USA 1942 Born in Urbana, IL, USA Selected Solo Exhibitions 2019 Francesca Minini
    Dan Graham Lives and works in New York, NY, USA 1942 Born in Urbana, IL, USA Selected Solo Exhibitions 2019 Francesca Minini, Milan, Italy 2018 ‘Rock ‘n’ Roll’, Lisson Gallery, London, UK ‘Beyond Walls’, Sirius Arts Centre, County Cork, Ireland ‘New Works By A Small-Town Boy’, Regen Projects, Los Angeles, USA ‘TV Producer as Conceptual Artist’, Greene Naftali, New York, USA 2017 ‘Greatest Hits’, Red Brick Museum, Beijing, China ‘Works That Are Fun For The Family’, Museum of Contemporary Art, Zagreb, Croatia ‘Dan Graham’, Nara Roesler Gallery, São Paulo, Brazil 2016 ‘Dan Graham/Rocks’, Columbus Museum of Art, Columbus, Ohio, USA ‘Dan Graham: Pavilion Compilation’, The Cleveland Museum of Art, Cleveland, Ohio, USA ‘Dan Graham’, Filomena Soares Gallery, Lisbon, Portugal 2015 ‘Observatory/Playground’, MAMO, Marseille, France ‘Models for Pavilions’, ETH Zürich, Zurich, Switzerland ‘Dan Graham’, Massimo Minini, Brescia, Italy ‘Dan Graham: Two Cubes, One Rotated 45°’, Marian Goodman, Paris, France ‘Dan Graham – Sculpture Or Pavilion?’, Micheline Szwajcer Gallery, Antwerp, Belgium 2014 ‘Photos, Videos and Pavilion’, De Pont Museum, Tilburg, Netherlands Greene Naftali, New York, NY, USA ‘Tunnel of Love’, Galleri Nicolai Wallner, Copenhagen, Denmark ‘Rock My Religion’, Shaker Museum Mount Lebanon, New York, NY, USA ‘Art as Design/Design as Art’ (with Heimo Zobernig), Galerie Christine Mayer, Munich, Germany ‘The Roof Garden Commission’ (with Günther Vogt), Metropolitan Museum of Art, New York, NY, USA 2013 ‘Two Cubes, One Rotated 45°’, Turner Contemporary, Margate, UK ‘Past Future Split Attention’, Manchester International Festival, Manchester, UK 2012 ‘Rock n’ Roll Show: Unrealised Projects for Children and Boutique Architecture’, Hauser & Wirth, Zurich, Switzerland ‘Pavilions’, Lisson Gallery London, UK Johnen Galerie, Berlin, Germany 2011 ‘Models and Videos’, Eastside Projects, Birmingham, UK ‘Exposition d’overture’, Le Consortium, Dijon, France ‘Through the Looking Brain: A Swiss Collection of Conceptual Photography’, Kunstmuseum Sankt Gallen, St.
    [Show full text]
  • The Deprivatization of Art: Dan Graham As an Art Worker
    City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2017 The Deprivatization of Art: Dan Graham as an Art Worker Jordana Cotilletta CUNY City College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/694 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE DEPRIVATIZATION OF ART: DAN GRAHAM AS AN ART WORKER Jordana Cotilletta MA: Art History Submitted in partial fulfillment of the requirements for the degree of Master of Arts of the City College of the City University of New York. Spring 2017 INTRODUCTION The American Conceptual and Minimalist artist Dan Graham (b. 1942) is perhaps best known for his two-way mirror pavilions that reference commercial store windows and consumer culture in the form of Conceptual language. A generation younger than Dan Flavin (American, 1933-1996), Donald Judd (American, 1928-1994), and Sol LeWitt (American, 1928-2007), Graham became directly involved with Minimalism in 1964 as the director for the newly founded John Daniels Gallery, New York. Here Graham organized one-person and group exhibitions that included works by Flavin, Judd and LeWitt. He began to develop his artistic practice that involved serial photographs of houses, associating him with Minimalism’s use of industrial materials and multiple forms. It was not, however, until Graham’s political involvement with the Art Workers’ Coalition (AWC) that he began to develop his characteristic sculptural forms and two-sided mirror pavilions.1 This thesis provides an analysis of Graham’s artistic methodology through the lens of an “art worker” as defined by the AWC.
    [Show full text]
  • Dan Graham Transcript
    THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: DAN GRAHAM, Artist INTERVIEWER: SABINE BREITWIESER, MoMA Chief Curator of Media and Performance Art LOCATION: THE MUSEUM OF MODERN ART DATE: NOVEMBER 1, 2011 TRANSCRIBER: Janet Crowley, Transcription Completed November 15, 2011 [Crew Discussion] SB: Hi, Dan, hello. I was asked to say the day of today. It’s November the first, 2011, and we are at The Museum of Modern Art on 11 West 53rd Street at the Drawing Study Center. I am Sabine Breitweiser, Chief Curator of Media and Performance Art, talking to artist Dan Graham. Do you want to introduce yourself? DG: Yes. I actually think of myself as more of a writer than an artist, and I don’t think of myself as an architect, but my work is always a hybrid. So I began with magazines, magazine articles and pages. SB: Okay, Dan. You usually start a conversation talking about someone’s zodiac, so I thought that might be a good point to start today. [0:05:17] DG: That’s for picking up women. [laughter] SB: That’s for picking up women, so pick me up. [laughing] So, you’re an Aries, and you recently sent me your zodiac description where you introduced yourself as being a pioneer, re-inventing, constantly yourself. DG: Well, I wouldn’t say that. I would just say that I admire, among the politicians, Kruschev, who was an Aries, who de-Stalinized Russia. And also his son is a very famous American computer scientist. But in terms of the zodiac, my birthday is MoMA Archives Oral History: D.
    [Show full text]
  • MIT/Pw/Dan Graham/Color
    PublicWorks Dan Graham was born in 1942 in Urbana, Illinois; he currently lives and Cornelia H. Butler has worked as a curator at The Museum of DAN GRAHAM works in New York City. Graham was director of the John Daniels Gallery Contemporary Art, Los Angeles since 1996. From 1989–1996 she was from 1964 to 1965, where he worked with such Minimalist artists as Curator of Contemporary Art at the Neuberger Museum of Art, State Yin/Yang Pavilion Carl André, Sol LeWitt, and Donald Judd. Graham also was an important University of New York, Purchase, and Curator at Artists Space, New contributor to performance and video art in the early 1960s, and from York. Prior to that, Butler was Associate Curator at the Des Moines 1965 to 1969 he produced a series of works that were published in Art Center. She completed graduate work in art history at Berkeley magazines. By the 1970s, he had begun working on the architectural in 1987 and did further graduate studies in PhD program at the A Commission for Simmons Hall structures—mirrored devices that reflect their surroundings—for which Graduate Center, City University of New York. Butler has taught he is best known. Since his first solo show at the John Daniels Gallery and lectured extensively and contributed to publications including in 1969, Dan Graham has exhibited internationally in four Documenta Art +Text, Parkett and Art Journal. She has organized numerous exhibi- Architect: Steven Holl Architects exhibitions in Kassel, Germany (1972, 1977, 1982 and 1992) and in solo tions including Willem deKooning: Tracing the Figure with co-curator shows and mid-career retrospectives at the Stedelijk Museum, Amsterdam; Paul Schimmel; Flight Patterns, Afterimage: Drawing Through Process; the Whitney Museum of American Art and Marian Goodman Gallery The Social Scene: The Ralph M.
    [Show full text]