An examination of the complex and subtle world on display in Rodney Graham's film of an LSD-inflected bicycle ride. Rodney Graham's Phonokinetoscope (2001) is a five-minute 16mm film loop in which the artist is seen riding his Fischer Original bicycle through Berlin's Tiergarten while taking LSD, to the soundtrack of a fifteen-minute song (written and performed by Graham) recorded on a vinyl LP. The turntable drives the projection of the film; the film starts when the needle is placed on the record and stops when the needle is taken off. Graham's ride evokes the Swiss scientist Albert Hoffman's famous 1943 bicycle ride home after an experimental dose of LSD as well as Paul Newman's backward-facing ride in Butch Cassidy and the Sundance Kid; the accompanying music presents a thicket of riffs and borrowings. As the images and visual details repeat in the film's endless loop, the artist's Phonokinetoscope refers to a surprising number of works of art and literature, displaying a world rich with subtle meaning. In this illustrated study of Phonokinetoscope, Shep Steiner describes the work as marking Graham's transition into a new medium. Steiner positions Graham's practice in relation to postminimalist practice and that of other artists including Dan Graham, but especially, Ian Wallace and Jeff Wall; considers Graham's rhetoric of playfulness; and finally, beyond the web of references, argues for a notion of allegory and memory theater keyed to the durational work yet satisfying the aesthetic standards of static art. Phonokinetoscope, Steiner argues, looks back to Graham's earlier works focusing on the notion of protocinema and forward to his later musical preoccupations.

The figure of the artist remains a central subject of investigation for Rodney Graham, known for straddling many areas simultaneously--painter, photographer, writer, philosopher, actor, psychologist, scientist, and musician.This new monograph gathers together works made between 1994 and 2017, in particular his photographic lightboxes and his musical production.Contradicting the title, That's Not Me the lightbox series focuses on the use of the self-portrait. Graham shows himself starring in various fictional roles (artist, musician, actor, lighthouse keeper, paddler, reader) at different times.According to curator Alessandro Vincentelli, Graham likes to look back at history and repeat it through his work, by 'stirring up art history with multiple and varied cultural references, so that the signals are subtly altered for the viewer.'Through his visual production, Rodney Graham questions the fundamental perception of the image and invites the public to participate in shaping its meaning.This title also highlights Graham's musical works. In his essay Robert Linsley retraces Graham's career as a musician and observes the connections that can be made between some of the songs and Graham's visual production.Published with BALTIC Centre for Contemporary Art, Gateshead, in association with IMMA, Irish Museum of Modern Art, Dublin; and on the occasion Rodney Graham's exhibition, That's Not Me at BALTIC Centre for Contemporary Art, Gateshead (17 March - 11 June 2017).

Marcel Broodthaers's (Belgian, 1924-1976) extraordinary output across mediums placed him at the center of international activity during the transformative decades of the 1960s and 1970s. Throughout his career, from early objects variously made of mussels, eggshells, and books of his own poetry; to his most ambitious project, the Musée d'Art Moderne. Département des Aigles; and the Décors made at the end of his life, Broodthaers occupied a unique position, often operating as both innovator and commentator. Setting a precedent for what we call installation art today, his work has had a profound influence on a broad range of contemporary artists, and he remains vitally relevant to cultural discourse at large. Published to accompany the artist's first museum retrospective in New York, Marcel Broodthaers examines the artist's work across all mediums. Essays by the exhibition organizers Christophe Cherix and Manuel Borja-Villel, along with a host of major scholars, including Benjamin H. D. Buchloh, Jean François Chevrier, Thierry de Duve, and Doris Krystof provide historical and theoretical context for the artist's work. The book also features new translations of many of Broodthaers's texts.

Dan Graham's Rock My Religion (1982-84) is a video essay populated by punk and rock performers (Patti Smith, Jim Morrison, Black Flag and Glenn Branca) and historical figures (including Ann Lee, founder of the Shakers). This coming together of several narrative voice-overs, of singing and shouting voices, of jarring sounds and text overlaid onto shaky, gritty images, proposes a historical genealogy of rock music and an ambitious thesis on the origins of America. In this illustrated book, Kodwo Eshun examines this landmark work of contemporary moving image in relation to Graham's wider body of work and to the broader culture of the time, especially in relation to history, popular culture, and individual and communal identity.

In this introduction to some of the most frequently discussed areas of philosophy, Sir Alfred Ayer made his subject accessible to both the general reader and the student. Among the topics covered are the nature of philosophy, varieties of philosophical analysis, theory of knowledge, status of physical objects, relations between body and mind, character of scientific explanation, theory of probability, elements of logic and the claims of theology. Although it ranges more widely, the book invites comparison with Bertrand Russell's The Problems of Philosophy.

A new work by Vancouver conceptualist Rodney Graham (born 1949) is always guaranteed to surprise and amuse in equal measure. Indeed, the idea of amusement, espoused by Duchamp as an aesthetic aspiration, is expanded by Graham in British Weathervanes to include the idea of folly, as espoused by the sixteenth-century humanist scholar Erasmus, author of The Praise of Folly (1511). Graham's Erasmus weathervane, made for the cupola of the Whitechapel Gallery in London, shows the author, modeled by the artist, reading a book while riding a horse backwards (elaborating on the anecdote that Erasmus wrote The Praise of Folly on horseback). Erasmus' weather-blown obliviousness continues Graham's inquiry into involuntary journeys and cyclical and backward motion. This beautifully produced artist's book derives its design from the 1940s series Britain in Pictures and contains photographs, drawings and essays on the project alongside a letter by Erasmus.

A collection of essays on a key figure in postminimalist art, with texts spanning thirty years. Since the 1960s, Dan Graham's heterogeneous practice has touched on such disparate subjects as tract housing, the Shakers, punk music, and architectural theory; he has made videos, architectural models, closed-circuit installations, and glass pavilions. Graham, who came of age during the emergence of earth art, minimalism, and conceptualism, has situated his work on the borders between these different strains of contemporary practice. Although varying widely in subject and medium, Graham's artwork and writings display a consistent interest in spectatorship, public-private relationships, and the constructed environment. Graham's extensive writings on his own work (collected in Rock My Religion and Two-Way Mirror Power, both published by the MIT Press) have made him, by default, the primary interpreter of his own art. This October Files volume provides a counterweight, gathering key texts by critics and theorists that offer alternative accounts of Graham's art. The essays span thirty years and include hard-to-find texts from exhibition catalogs and journals. The authors include such distinguished theorists, critics, and artists as Benjamin H. D. Buchloh, Beatriz Colomina, Thierry de Duve, and Jeff Wall.

Książka towarzysząca wystawie w Starkmann Library Services, Winchester, Massachusetts, 4 czerwiec - 2 wrzesień 1994 i w Art Gallery of York University, Toronto 21 wrzesień - 30 październik 1994.

Text by Delia Brown, Rodney Graham, Damien Hirst.