Conceptual and efficiency artist, pavilion designer, sculptor, curator, essayist, and all-around renaissance man Dan Graham handed away at his dwelling in New York Metropolis on February 19. He was 79.
The 4 galleries representing Graham—Lisson Gallery, Marian Goodman Gallery, 303 Gallery, and Regen Tasks—collectively confirmed his demise in a press release however declined to reveal the trigger.
Born March 31, 1942, in Urbana, Illinois, Graham took an atypical path to an artwork profession that might see him turn into a up to date of Tony Oursler, Donald Judd, Sol LeWitt, and different Nineteen Sixties conceptual artists who laid the groundwork for the medium’s proliferation. Raised in New Jersey from the age of three. Graham decamped for New York in 1964 to determine the John Daniels Gallery when he was 22. Right here, he confirmed the work of artists he would later depend as his friends. Graham by no means acquired an schooling previous highschool and was fully self-taught as an artist however eagerly soaked in info and went out of his option to be taught extra.
Though Graham labored throughout mediums together with pictures, video, poetry, collage, and textual content, the central focus of his work from the Nineteen Seventies onward—and what drew him probably the most acclaim—was his sequence of steel-and-glass pavilions.
Graham usually described himself in interviews as an architect, and his pavilions, alternating between straight strains and sinuous curves, clear and mirrored glass, dividers and openings, used the constructed setting to nice impact whereas blurring the road between sculpture and construction. In 1976, Graham debuted certainly one of his first such installations, Public Area/Two Audiences, on the thirty seventh Venice Biennale, dividing a viewing room with a chunk of soundproof glass and splitting members between viewers and people below commentary.
That may mark the beginning of Graham’s continued experimentation with the shape, and his exploration of house and surveillance was so profitable that he introduced three extra occasions on the Venice Biennale and as soon as on the Venice Structure Biennale, a rarity for an artist. In 2014, Graham continued the custom of dropping difficult buildings on the roof of Manhattan’s Metropolitan Museum of Artwork, putting in Hedge Two-Means Mirror Walkabout in collaboration with panorama architect Günther Vogt and making a labyrinth from two-way mirrored glass that trapped viewers with their very own reflections—whereas putting those self same guests below commentary from the opposite facet.
That is only a demise announcement and AN will observe this story with a extra in-depth remembrance from those that knew Graham. Except for his artwork, Graham was a prolific author (and AN contributor) on all the things from rock music to astrology to city structure to the contrasts between postmodern and modernist structure.