About the artist

    Lives and works in New York
    1942: Was born in Urbana, Illinois
    1964: Began directing the John Daniels Gallery in New York

    Dan 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 of Donald Judd, Dan Flavin and Robert Smithson. Like these artists, Graham considered himself a writer-artist, publishing essays and reviews on rock music, 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, glass and mirror structures.


    In the past thirty years, Dan Graham has proved himself to be an all-encompassing artist. His wide variety of work consists of performance art, installations, video, sculpture, and photography. Few of Graham’s works have been commissioned or exhibited in the United States. In fact, the only major work commissioned in the U.S. in the last decade was the Rooftop Urban Park Project, in which he designed the piece Two-Way Mirror Cylinder Inside Cube and Video Salon (1981–1991)

    Some other commissions in the U.S. are Yin/Yang at MIT, the labyrinth at the Minneapolis Sculpture Garden, and at Middlebury College, and in Madison Square Park.

    Graham's work was always firmly based within conceptual art practice. Early examples were photographs and numerological sequences, often printed in magazines, for example Figurative (1965) and Schema (1966). With the latter Graham draws on the actual physical structure of the magazine in which it is printed for the content of the work itself. As such the same work changes according to its physical/structural location within the world. His early breakthrough-work however was a series of magazine-style photographs with text, Homes for America (1966–67), which counterpoints the monotonous and alienating effect of 1960's housing developments with their supposed desirability and the physical-geometry of a printed article.Other works include Site Effects/Common Drugs (1966) and Detumescence (1966).

    In addition to his visual works, he has published a large array of critical and speculative writing.

     

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