Artist:
Dan Graham
Title:
Pavillon
Year:
1996
Adress:
Köpenicker Strasse 52
www.dornob.com:
Yes, the work is highly conceptual, but ultimately deeply human. Ironically, in a 2012 interview, Graham adamantly insisted: 'I don’t think I do pavilions. No, that’s an idea that gallerists have, they say: ‘do a pavilion.' I don’t do a pavilion.’ … ‘My work is closer to Russian Constructivism. It’s halfway between design, art, and functional architecture.’'
'For fifty years, Dan Graham has traced the symbiosis between architectural environments and their inhabitants. 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 realized in sites all over the world.'
www.mariangoodman.com:
The adoption of architectural vocabulary, a staple element in Graham’s work, is a way of emphasizing how our environment fundamentally structures our gaze. The two-way mirror is an integral part of the pavilions, which allow light to enter the structure while protecting the privacy of those inside. In addition to the multifold play of reflection and reflexivity, this type of glass also makes us aware of the immediate past—a key notion in Graham’s work.
www.phaidon.com:
"My pavilions derive their meaning from the people who look at themselves and others, and who are being looked at themselves," said the artist. "Without people in them, they might look a bit like minimal-art sculptures, but that's not what they're meant to be."
"Graham has suggested we think of them as 'heterotypes'." They write. "The term, coined by the French philosopher Michel Foucault, refers to places in a city which are 'different' and which create a meaningful interruption in the continuum of everyday space."
www.wikipedia.org:
Daniel 'Dan' Graham (born March 31, 1942) is an American artist, writer, and curator.
Graham grew up in New Jersey. In 1964 he began directing the John Daniels Gallery in New York, where he put on Sol LeWitt's first one-man show, and in groups shows, exhibited works ofDonald Judd, Dan Flavin and Robert Smithson.
Like these artists, Graham considered himself a writer-artist, publishing essays and reviews on rock music, Dwight D. Eisenhower's paintings, and Dean Martin's television show.
His earliest work dealt with the magazine page, predating but often associated with Conceptual art. His work often focuses on cultural phenomena, and incorporates photography, video, performance art, glass and mirror structures. He lives and works in New York.
Yes, the work is highly conceptual, but ultimately deeply human. Ironically, in a 2012 interview, Graham adamantly insisted: 'I don’t think I do pavilions. No, that’s an idea that gallerists have, they say: ‘do a pavilion.' I don’t do a pavilion.’ … ‘My work is closer to Russian Constructivism. It’s halfway between design, art, and functional architecture.’'
'For fifty years, Dan Graham has traced the symbiosis between architectural environments and their inhabitants. 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 realized in sites all over the world.'
www.mariangoodman.com:
The adoption of architectural vocabulary, a staple element in Graham’s work, is a way of emphasizing how our environment fundamentally structures our gaze. The two-way mirror is an integral part of the pavilions, which allow light to enter the structure while protecting the privacy of those inside. In addition to the multifold play of reflection and reflexivity, this type of glass also makes us aware of the immediate past—a key notion in Graham’s work.
www.phaidon.com:
"My pavilions derive their meaning from the people who look at themselves and others, and who are being looked at themselves," said the artist. "Without people in them, they might look a bit like minimal-art sculptures, but that's not what they're meant to be."
"Graham has suggested we think of them as 'heterotypes'." They write. "The term, coined by the French philosopher Michel Foucault, refers to places in a city which are 'different' and which create a meaningful interruption in the continuum of everyday space."
www.wikipedia.org:
Daniel 'Dan' Graham (born March 31, 1942) is an American artist, writer, and curator.
Graham grew up in New Jersey. In 1964 he began directing the John Daniels Gallery in New York, where he put on Sol LeWitt's first one-man show, and in groups shows, exhibited works ofDonald Judd, Dan Flavin and Robert Smithson.
Like these artists, Graham considered himself a writer-artist, publishing essays and reviews on rock music, Dwight D. Eisenhower's paintings, and Dean Martin's television show.
His earliest work dealt with the magazine page, predating but often associated with Conceptual art. His work often focuses on cultural phenomena, and incorporates photography, video, performance art, glass and mirror structures. He lives and works in New York.