Dan Graham

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For the Major League Baseball catcher, see Dan Graham (baseball).
Dan Graham
Dan Graham Portland ME 2007.JPG
Born (1942-03-31) March 31, 1942 (age 77)
Urbana, Illinois
NationalityUnited States
EducationSelf-taught
Known forInstallation art, Sculpture, Photography, Writing, Video art, Performance art, Education, Art critic
Notable work
Performer/Audience/Mirror, Rock My Religion, Two-way Mirror Cylinder Inside Cube, Don't Trust Anyone Over 30, Yin/Yang
MovementMinimalism, Conceptual art
AwardsCoutts Contemporary Art Foundation Award, Skowhegan Medal for Mixed Media, French Vermeil Medal
Dan Graham, Zurich 2007.
Two-Way Mirror Punched Steel Hedge Labyrinth. Family in a box, Minneapolis photo by Wendy Seltzer

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 of Donald Judd, Dara Birnbaum, 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.

Childhood and early career[edit]

Dan Graham was born in Urbana, Illinois, the son of a chemist and an educational psychologist;[1] when he was 3, Graham moved from Illinois to Winfield Township, New Jersey, and then to nearby Westfield when he was 14.[citation needed] He had no formal education after high school and is self-educated.[1] During his teens, reading included Margaret Mead, Claude Lévi-Strauss, the literary critic Leslie Fiedler and the French Nouveau Roman writers,[1] he wanted to be a writer, loved rock music which he wrote about critically and because he couldn't afford art supplies his early art took the form of magazine "articles".[1]

Work[edit]

Graham began his art career in 1964, at the age of 22, when he founded the John Daniels Gallery in New York, he worked there until 1965, when he started creating his own conceptual pieces. During his time at the gallery, he exhibited works by minimalist artists such as Carl André, Sol LeWitt—LeWitt's first solo gallery show,[1] Donald Judd, Robert Smithson, Dan Flavin and Ward Jackson.

In the past thirty years, Dan Graham has proved himself to be a wide-ranging artist, his 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,[2] the labyrinth at the Minneapolis Sculpture Garden,[2] 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.[3] Other works include Site Effects/Common Drugs (1966) and Detumescence (1966).

After this Graham broadened his conceptual practice development with performance, film, video and sculpture including Rock My Religion (1984) and Performer/Audience/Mirror (1975), his installations such as Public Space/Two Audiences (1976) or Yesterday/Today (1975) further inspired his move to the indoor and outdoor pavilions he most recently designs. His many conceptual pavilions including Two Way Mirror with Hedge Labyrinth (1989) and Two Way Mirror and Open Wood Screen Triangular Pavilion (1990) have increased his popularity as an artist. Dan Graham's first sculpture building project was Café Bravo at Kunst-Werke Institute for Contemporary Art in Berlin. After a lecture at the Berlin University of the Arts, Klaus Biesenbach invited Dan Graham to conceive the pavilion for Kunst-Werke, which Biesenbach founded, and he assisted Graham in the realization of the project.

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

Influences[edit]

In Sarah Lehrer-Graiwer's publication Pep Talk in 2009, Graham gave "Artists' and Architects' Work That Influenced Me" (in alphabetical order): Michael Asher, Larry Bell, Flavin, Itsuko Hasegawa, LeWitt, Roy Lichtenstein, Robert Mangold, Bruce Nauman, Claes Oldenburg, Kazuo Shinohara, Michael Snow, Mies van der Rohe and Robert Venturi.[4]

Writer Brian Wallis has said that Graham’s works “displayed a profound faith in the idea of the present, [he] sought to comprehend post-war American culture through imaginative new forms of analytical investigation, facto-graphic reportage, and quasi-scientific mappings of space/time relationships.”[5] Graham's work has been influenced by the social change of the Civil Rights Movement, The Vietnam War, the Women's liberation movement as well as many other cultural changes.[citation needed] These prolific events and changes in history affected the conceptual art and minimalist movements.[citation needed]

Like LeWitt, Morris, Smithson and Flavin, Graham has worked at the intersection of minimalism and conceptual art. Graham exhibited a predominantly minimalist aesthetic in his earlier photographs and prints, his prints of numeric sequences, words, graphs, and graphics strongly reflect his minimalist qualities. His later works have become very conceptual, and examine the relationships between interior space, exterior space, and the perception of the viewer when anticipated boundaries are changed.

Photography[edit]

Soon after he left the John Daniels Gallery, Dan Graham started a series of photographs which started in the sixties and continues into the present. Of his magazine work, Graham said,

There was this whole idea of defeating monetary value in the air in the ’60s, so my idea was to put things in magazine pages where they’d be disposable with no value, and that was a hybrid also because the work was a combination of art criticism and essay: magazine page as an artwork.[6]

These photographs question the relationship between public and private architecture and the ways in which each space affects behavior; some of his first conceptual works dealt with different forms of printed artwork of numeric sequences. In 1965 Graham began shooting color photographs for his series Homes For America. All the photographs taken were of single-family homes around the American suburbs; this photo series, one of the first artworks in the space of text, was published as a twopage spread in Arts Magazine. The "article" is an assembly of texts including his photographs; the photographs were also chosen for the exhibition "Projected Art" at the Finch College Museum of Art. In 1969, Graham focused on performance and film that explored the social dynamic of the audience, incorporating them into the work, leading to an 80 ft photo series, Sunset to Sunrise.[7]

Performance, film and video[edit]

From the late 1960s into the late 70's, Graham shifted toward a largely performance-based practice, incorporating film and the new medium of video in his systematic investigations of cybernetics, phenomenology and embodiment.[8] In 1969, he made his first film Sunset to Sunrise, in which the camera moves opposite to the course of sun, inverting the progression of time; this piece is emblematic of his filmic work that would extend into the early 1970s, in which he would explore “subjective, time-based processes” through perceptual, kinetic exercises, using the camera as an extension of his body and implicating the subjectivity of the viewer.[9] Other films from this period include Two Correlated Rotations (1969), Roll (1970), and Body Press (1970–72), all three featuring the interaction of two cameras or the juxtaposition of two films. Roll (1970) was a performance exercise in phenomenology similar to Bruce Nauman's early films.[10] Body Press, in which a naked man and woman stand back-to-back in a cylinder lined with concave mirrors filming themselves and their distorted reflections, introduces the mirrored image as a prominent theme for Graham, which he would explore extensively in his performance and video practice as well as his later architectural work.[11]

Graham has stated that his works are “models to define the limits of an idea of representation as the conventional limits which necessarily define the situation between the artist and spectator,” and his performances in the 1970s foreground this relational approach.[12] In these works Graham explicitly invokes theories of structural linguistics, especially the work of Jacques Lacan.[13] Graham’s 1972 performance piece Two Consciousness Projections underscores a preoccupation with phenomenological aspects of relationality, utilizing the reflective capacities of video feedback. In the performance, a woman sits in front of a monitor displaying her image from the live feed of a video camera held by a man behind the monitor and attempts to narrate her conscious mind, while the man describes her as he watches through the camera; this work presents an experiment in self-perception and representation, modulated by numerous mirroring agents—the woman’s own image on the monitor, the “image” of her depicted by the man, as well as both performers’ awareness of the audience.[14] In his own writings, Graham articulates an interest in deconstructing the divisions between interior intention and visible behavior formed when looking at one’s reflection in a mirror, proposing video feedback as both a technical and conceptual means by which to achieve this.[15] Many of Graham’s performance pieces work to exhibit and exploit the spontaneous interaction between thought and expression, inside and outside, extending this dissolution of barriers to dichotomies of performer and audience, private and public.[16] Graham’s most complex interrogation of this is the performance Performer/Audience/Mirror (1977), in which he stands between a large mirror and an audience, describing himself, the audience, his reflection, and the audience’s reflection in sequential phases of continuous commentary. Expanding upon the themes in Two Consciousness Projections, this work implicates the audience in their own feedback cycle of self-perception.[17]

Graham produced a number of videos that documented his performance works, such as the 1972 Past Future Split Attention, in which the conversation of two acquaintances becomes a cacophony of simultaneous speech and interruption.[18] One other major example of a documented performance is Performance/Audience/Mirror (1975).

Graham also incorporated video into installations, creating environments where video technology is used to alter the viewer's own bodily experience. In 1974, he created an installation with a series of videos called "Time Delay Room", which used time-delayed Closed-circuit television cameras and video projections.

Lastly, Graham produced a number of video documentaries, such as Rock My Religion from (1983–84) and Minor Threat (1983). Rock My Religion (1984) explores rock music as an art form and draws a parallel between it and the development of the Shaker religion in America, he observes the changes in beliefs and superstitions in the Shaker religion since the 18th century, and relates them to the development of rock culture. The film has been distributed widely, and has included screenings at both institutional and counter-cultural venues across Europe and the US, including Lisson Gallery, Auto Italia South East and Whitney Museum of American Art.[19] Minor Threat documents the youth culture surrounding the band of the same name. In it, Graham analyses the social implications of this subculture, treating it "as a tribal rite, a catalyst for the violence and frustration of its predominantly male, teenage audience."[20]

Pavilions[edit]

Pavilion in Berlin, Germany

Dan Graham’s artworks are said to blur the line between sculpture and architecture. Since the 1980s, Graham has been working on an ongoing series of freestanding, sculptural objects called pavilions. Graham's popularity has grown since he started his walk-in pavilions and he has received commissions all over the world, his pavilions are steel and glass sculptures which create a different space which disorients the viewer from his or her usual surroundings or knowledge of space. They are made of a few huge panes of glass or mirror, or of half-mirrored glass that is both reflective and transparent.[21] Wooden lattice and steel are other materials most commonly used in his work.

The MIT Art Center calls his pavilions rigorously conceptual, uniquely beautiful, and insistently public; the pavilions create a unique experience for the viewer. His pavilions are created for the public experience, his pavilions combine architecture and art. Dan Graham’s pavilion works have been compared to Ryue Nishizawa and Kazuyo Sjima’s work on the Kanazawa Museum; the glass wall of the structure reflects and distorts light much like Grahams sculptures. The layered, but simplistic quality is said to be very much like Graham's; the structures are similar in their study of space and light.

In 1981, Graham started work on a decade long project in New York City; the work Two-Way Mirror Cylinder Inside Cube and Video Salon was part of the Rooftop Urban Park Project. Graham worked on the piece in collaboration with architects Mojdeh Baratloo and Clifton Balch; this transparent and reflective pavilion transformed the roof of 548 West 22nd Street into a rooftop park. The pavilion captures the surrounding landscape and changes of light creating an intense visual effect with the sky; the Two-Way Mirror Cylinder Inside Cube and Video Salon has become one of his most well-known works throughout his art career.

After numerous commissions in Europe, the Children’s Pavilion (1988–93) was actually the first piece Graham was commissioned to do in the United States. A collaboration with Jeff Wall, the pavilion is a very conceptual piece relating to the children of the nation, it is a circular shaped room with an oculus that is both transparent and reflective at the top, so the viewers on the outside of the building could look inside as well. Wall's nine circular framed photographs of children belonging to many nationalities and ethnic backgrounds surround the room; each child is shown half-length and viewed from below against the background of a sky. In each image Wall chooses a different sky. In 1991, the Witte de With Center for Contemporary Art attempted to realise the pavilion on Rotterdam's Ommoord district; the plan was eventually abandoned in 1994.[22] Related works include Children's Pavilion (Chambre d'Amis) (1986), Skateboard Pavilion (1989), and Funhouse for the Children of Saint-Janslein (1997–99).[23]

For a temporary installation in the Metropolitan Museum of Art’s roof garden is, Hedge Two-Way Mirror Walkabout (2014) is a collaboration with the Swiss landscape architect Günther Vogt; the pavilion consists of an S-shaped curve of slightly reflective glass, bookended by two parallel ivy hedgerows.[24] Later, Graham worked with designer Phoebe Philo to create an S-shaped steel-and-glass pavilion in which to show her spring/summer 2017 collection.[25]

Selected pavilions[edit]

Gate of Hope (1993) in Stuttgart, Germany

Other realized pavilions by Graham include:

Writings[edit]

Dan Graham has made major contributions through his writing, he works as an art critic, writing revealing articles about fellow artists. He has contributed inquisitorial ads in newspapers and writings in magazines, he has also written books along with other writers. Many of the books are a collection of essays about his works; the most read include Two Way Mirror Power: Selected Writings by Dan Graham on His Art, Half Square Half Crazy, and Sympathy for the Devil: Art and Rock and Roll since 1967.

Collaborations[edit]

For the Performa festival in 2007, Dan Graham designed the stage set made for New York-based band Japanther's performance. Graham has collaborated previously with Japanther on the rock puppet opera Don't Trust Anyone Over Thirty: Entertainment by Dan Graham with Tony Oursler and Other Collaborators (2004).[32]

Select artworks[edit]

  • Homes for America, 1967, John Gibson
  • Piece, 1969, Cindy Hinant, New York.[33]
  • Opposing Mirrors and Video Monitors on Time Delay, 1974, San Francisco Museum of Modern Art.[2]
  • Yesterday/Today, 1975, Stedelijk Van Abbe Museum, Eindhoven, the Netherlands.
  • Back-Yard New Housing Project, 1978, Lisson Gallery, London.
  • Two Way Mirror with Hedge Labyrinth, 1989, Lisson Gallery.
  • Pavilion Influenced by Moon Windows, 1989.
  • Untitled sculpture, 1996, installed in Vågan, North Norway.[34]
  • Triangular Pavilion with Circular Cut-Out Variation C, 1989–2000, Lisson Gallery Swimming Pool/Fish Pond, 1997, Patrick Painter Editions.
  • Two Way Mirror with Lattice with Vines Labyrinth, 1998, Lisson Gallery.
  • Girls Make-Up Room, 1998–2000, Hauser & Wirth Zürich London.
  • Greek Meander Pavilion, Open, 2001, Lisson Gallery.
  • Bisected Triangle, Interior Curve, 2002, Madison Square Park.
  • Waterloo Sunset at the Hayward Gallery, London, 2002-03.[35]
  • Terminal 5 In 2004, the dormant Saarinen-designed TWA Flight Center (now Jetblue Terminal 5) at JFK Airport) briefly hosted an art exhibition called Terminal Five,[36] curated by Rachel K. Ward[37] and featuring the work of 18 artists[38] including Dan Graham; the show featured work, lectures and temporary installations drawing inspiration from the terminal's architecture[38] — and was to run from October 1, 2004 to January 31, 2005[38] — though it closed abruptly after the building itself was vandalized during its opening gala.[37][39]
  • Sculpture or Pavillion?, 2015, Museum De Pont

Exhibitions[edit]

Graham's first solo show was held in 1969 at the John Daniels Gallery in New York. In 1991, an exhibition of his pavilions and photographs was held at the Lisson Gallery in London. Another important exhibition featuring Graham was "Public/Private", an exhibition that traveled to four different venues; the show, which included his pavilions, architectural photographs and models, performances, and video installations, had its opening in 1994 at the Moore College of Art and Design. In 2001, a retrospective was held covering his 35-year career; the museums holding the event included the Musee d'Art Moderne de la Ville in Paris, Kroller-Muller Museum in Otterlo, the Netherlands, and Kiasma Museum in Helsinki, Finland. In 2009, another major retropspective was mounted in the U.S., showing at the Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York and the Walker Art Center, Minneapolis. Graham's work has also been exhibited at the Venice Biennale (1976, 2003, 2004 and 2005), documentas V, VI, VII, IX, IX and X (1972, 1977, 1982, 1992 and 1997), and at Skulptur Projekte Münster '87 and '97.

Selected solo exhibitions[edit]

  • 2015, Dan Graham Observatory/Playground, MAMO, Centre d'art de la Cité Radieuse, Marseille, France
  • 2011, Dan Graham: Exposition d'overture, Le Consortium, France
  • 2011, Dan Graham: Models and Videos, Eastside Projects, Birmingham
  • 2010, Les Rencontres d'Arles festival, France.
  • 2009, Dan Graham: Beyond, Walker Art Center, Minneapolis (Retrospective)[40]
  • 2009, Dan Graham: Beyond, Whitney Museum of American Art, New York (Retrospective)
  • 2009, Dan Graham: Beyond, The Museum of Contemporary Art, Los Angeles (Retrospective)
  • 2001, Dan Graham Œuvres, 1965–2000, Musée d'art moderne de la Ville de Paris, Paris
  • 2001, Dan Graham Works, 1965–2000, Museu de Arte Contemporânea de Serralves, Porto
  • 2000, Dan Graham: Children's Day Care Center, CD-Rom, Cartoon, and Computer Screen Library Project, Marian Goodman Gallery, New York
  • 1999, Dan Graham, Architekturmodell, Kunst-Werke Berlin, Berlin
  • 1997, Dan Graham, The Suburban City, Neue Galerie am Landesmuseum Joanneum, Graz
  • 1995, Dan Graham, Video/Architecture/Performance, EA-Generali-Foundation, Vienna
  • 1994, Dan Graham: Public/Private, Moore College of Art and Design, Philadelphia; List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Massachusetts; Toronto, LACE - Los Angeles Contemporary Exhibitions, Los Angeles
  • 1991, Pavilion Sculptures & Photographs, Lisson Gallery, London
  • 1986, Storefront for Art and Architecture, New York
  • 1981, P.S.1 Contemporary Art Center / Institute for Art and Urban Resources, Long Island City, New York
  • 1977, Stedelijk Van Abbe Museum, Eindhoven

References[edit]

  1. ^ a b c d e Kennedy, Randy (June 26, 2009). "A Round Peg". The New York Times; the New York Times Company. Retrieved June 7, 2009.
  2. ^ a b "Themes: Art and Cinematography: Graham". Media Art Net (www.medienkunstnetz.de). Retrieved 2009-12-21.
  3. ^ Dan Graham (October Files), Alex Kitnick, MIT Press, 2011. Ch.1.
  4. ^ Lehrer-Graiwer, Sarah (ed.) (2009). Dan Graham: Pep Talk. www.peptalkreader.com. Archived from the original on 2011-07-15. Retrieved 2009-12-21.CS1 maint: Extra text: authors list (link)
  5. ^ Wallis, Brian, ed. (1993). Rock My Religion: Writing and Art Projects 1965-1990. Cambridge: MIT Press. pp. ix. ISBN 0262071479.
  6. ^ Carlos Brillembourg, "In Conversation: Dan Graham with Carlos Brillembourg" the Brooklyn Rail, July–August 2012.http://brooklynrail.org/2012/08/art/dan-graham-with-carlos-brillembourg
  7. ^ Dan Graham Tate Collection.
  8. ^ Chrissie, Iles (2009). "You Are the Information: Dan Graham and Performance," in Dan Graham: Beyond. Cambridge: MIT Press. p. 55.
  9. ^ Pelzer, Birgit (2001). "Double Intersections: The Optics of Dan Graham," in Dan Graham. New York: Phaidon. p. 44,45.
  10. ^ Marian Goodman Gallery, press release statement for "Dan Graham Films: 1969-1974" (January 8, 2002), [1].
  11. ^ Pelzer, Birgit (2001). "Double Intersections: The Optics of Dan Graham," in Dan Graham. New York: Phaidon. pp. 46–48.
  12. ^ Pelzer, Birgit (2001). "Double Intersections: The Optics of Dan Graham," in Dan Graham. New York: Phaidon. p. 48,49.
  13. ^ Dan Graham, "Performance/Audience/Mirror" (1975), in Two-Way Mirror Power: Selected Writings by Dan Graham on His Art.
  14. ^ Pelzer, Birgit (2001). "Double Intersections: The Optics of Dan Graham," in Dan Graham. New York: Phaidon. p. 49.
  15. ^ Graham, Dan (1999). "Essay on Video, Architecture, and Television," in Two Way Mirror Power: Selected Writings by Dan Graham on his Art. Cambridge: MIT Press. p. 55,56.
  16. ^ Chrissie, Iles (2009). "You Are the Information: Dan Graham and Performance," in Dan Graham: Beyond. Cambridge: MIT Press. pp. 66–70.
  17. ^ Chrissie, Iles (2009). "You Are the Information: Dan Graham and Performance," in Dan Graham: Beyond. Cambridge: MIT Press. p. 69,70.
  18. ^ Martha Schendener (November 30, 2012), When Counterculture of 1971 Got Its Hands on Video The New York Times.
  19. ^ Auto Italia. "http://autoitaliasoutheast.org/blog/news/project/dan-grahams-rock-my-religion/". Retrieved 27-08-2015.
  20. ^ Minor Threat (1983).
  21. ^ Blake Gopnik (September 3, 2009), Blake Gopnik on the Dan Graham Retrospective at N.Y.'s Whitney The Washington Post
  22. ^ Jeff Wall on long-term loan to the Boijmans Museum Boijmans Van Beuningen, Rotterdam.
  23. ^ Dan Graham: Children's Day Care, CD-Rom, Cartoon and Computer Screen Library Project & other works for water, backyards, and children, April 5 - May 20, 2000 Marian Goodman Gallery, New York.
  24. ^ a b Karen Rosenberg (April 29, 2014), [Artists Hold Up a Glass to a City’s Changing Face] The New York Times.
  25. ^ Jo Ellison (October 2, 2016), Céline SS17 show report: Paris Fashion Week Financial Times.
  26. ^ James H. Burnett III (October 4, 2011), New addition to deCordova collection The Boston Chronicle.
  27. ^ Dan Graham, Star of David Pavilion (1999) Tel Aviv Museum of Art.
  28. ^ Dan Graham, 2-Way Mirror and Punched Aluminum Solid Triangle (1996), Arken Museum of Modern Art.
  29. ^ Triangular Bridge Over Water (1990) Archived 2011-12-29 at the Wayback Machine Laumeier Sculpture Park, St. Louis.
  30. ^ Outdoor sculptures in Stockholm: "Pavilion Sculpture II, 1984". Moderna Museet. Retrieved 23 May 2015.
  31. ^ Dan Graham, March 3 - 28, 2009 Marian Goodman Gallery, New York.
  32. ^ Dan Graham March 3–28, 2009 Marian Goodman Gallery, New York.
  33. ^ Considine, Austin. "Matthew Watson's Personal Exchanges". Art in America Magazine. Retrieved 1 November 2014.
  34. ^ "Artscape Nordland (North Norway)". Sculpture magazine, June 2004.
  35. ^ "Dan Graham: Waterloo Sunset at the Hayward Gallery, London". Sculpture magazine, April 2004.
  36. ^ "TWA Terminal Named as One of the Nation's Most Endangered Places". Municipal Art Society New York, February 9th, 2004. Archived from the original on 2009-08-12. Retrieved 2009-08-11.
  37. ^ a b "A Review of a Show You Cannot See". Designobvserver.com, Tom Vanderbilt, January 14, 2005. Archived from the original on 2012-12-05.
  38. ^ a b c "Now Boarding: Destination, JFK". The Architects Newspaper, September 21, 2004.
  39. ^ "Art Exhibition at JFK Airport's TWA Terminal Abruptly Shut Down". Architectural Record, John E. Czarnecki,, October 11, 2004. Archived from the original on 2012-12-05.
  40. ^ "Dan Graham: Beyond". Walker Art Center. Archived from the original on 2009-12-24. Retrieved 2009-12-21.

Bibliography[edit]

  • Alberro, Alexander and Graham, Dan Dan Graham - Models to Projects (Marian Goodman Gallery 1998) ISBN 0-944219-13-6
  • Alberro, Alexander, Dan Graham, and Friedrich W. Heubach. "Dan Graham: Half Square Half Crazy". Barcelona: Poligrafa, Ediciones, S.a., 2001.
  • Charre, Alain, Marc Perelman, and Marie-Paule Macdonald. "Dan Graham." Paris: Editions Dis Voir, 1995.
  • Francis, Mark, Beatriz Colomina, Birgit Pelzer, and Dan Graham. "Dan Graham." New York City: Phaidon P, Inc., 2001.
  • Graham, Dan Dan Graham Interviews, Dan Graham; (Hatje Cantz 1995) ISBN 3-89322-318-5
  • Graham, Dan, Adachiara Zevi, Brian Hatton, and Mark Pimlott. "Dan Graham: Architecture." London: Architectural Association, 1997.
  • Graham, Dan, and Adachiara Zevi. "Dan Graham: Half Square Half Crazy". New York City: Charta, 2005.
  • Graham, Dan, and Brian Wallis. "Rock My Religion: Writings and Projects" 1965-1990. Boston: MIT P, 1994.
  • Graham, Dan. "Two-Way Mirror Power." Boston: MIT P, 1999.
  • Graham, Dan, Two-Way Mirror Power: Selected Writings by Dan Graham on His Art, (MIT Press 1999) ISBN 0-262-57130-7
  • Graham, Dan, Dan Graham: Catalogue Raisonné, (Richter Verlag 2001) ISBN 3-933807-31-X
  • Graham, Dan, Valle, Pietro, Zevi, Adachiara, Dan Graham: Half Square Half Crazy (Charta 2005) ISBN 88-8158-520-0
  • Jodidio, Philip. "Architecture: Art." New York: Prestel. 86-87.
  • Simpson, Bennett and Iles, Chrissie (eds.) (2009). Dan Graham: Beyond; the MIT Press. ISBN 1-933751-12-6.CS1 maint: Multiple names: authors list (link) CS1 maint: Extra text: authors list (link)
  • Smith, Matt Dan Graham's Rock My Religion[permanent dead link], The Nonnus Blog. 26 Mar. 2008.
  • Wallis, Brian, Rock My Religion: Writings and Projects 1965-1990 by Dan Graham, (MIT Press 1994) ISBN 0-262-57106-4

Further reading[edit]

  • Josh Thorpe (2009). Dan Graham Pavilions: a guide. Toronto: Art Metropole.
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