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Like the camera obscura, the pinhole camera was an influential precursor
to that most sophisticated of mechanical tools, the modern multilens
camera. At a time when it, in turn, is being challenged by newer
reproductive technologies, such rudimentary modes of image making are,
paradoxically, proving unexpectedly vital. In their recent works, both
Canadian artist Rodney Graham and German Vera Lutter draw on these
pioneering techniques and historical models to construct vividly arresting
representations.
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| Checklist of Works |
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Vera Lutter
1. Pepsi Cola, Long Island City, X: July 7, 1998, 1998
silver gelatin print
871/2 x 168 inches
Courtesy of the artist
2. Nabisco Factory, Beacon, I: July 19-22, 1999, 1999
silver gelatin print
93 x 168 inches
Courtesy of the artist
3. Zeppelin, Friedrichshafen, I: August 10-13, 1999, 1999
silver gelatin print
55 x 81 inches
Courtesy of the artist
4. Zeppelin, Friedrichshafen, II: August 13-17, 1999, 1999
silver gelatin print
551/2 x 821/2 inches
Courtesy of the artist
5. Nabisco Factory, Beacon, IV: September 14-19, 1999, 1999
silver gelatin print
101 x 168 inches
Courtesy of the artist
Rodney Graham
1. Welsh Oaks (1), 1998
monochrome color print
911/4 x 741/8 inches
edition of 2
Collection of Martin E. Zimmerman, C.E.O., LINC Capital Inc., Chicago
2. Welsh Oaks (3), 1998
monochrome color print
891/2 x 741/8 inches
edition of 2
Collection of REFCO Group, Ltd., Chicago
3. Welsh Oaks (7), 1998
monochrome color print
911/8 x 741/4 inches
edition of 2
Courtesy Donald Young Gallery, Chicago
4. Welsh Oaks (5), 1998
monochrome color print
741/4 x 921/8 inches
edition of 2
Courtesy Donald Young Gallery, Chicago
5. Welsh Oaks (4), 1998
monochrome color print
941/2 x 741/4 inches
edition of 2
Private Collection
6. Welsh Oaks (2), 1998
monochrome color print
741/8 x 911/4 inches
edition of 2
Courtesy Donald Young Gallery, Chicago
7. Welsh Oaks (6), 1998
monochrome color print
911/8 x 741/4 inches
edition of 2
Courtesy Donald Young Gallery, Chicago
8. Millennial Project for an Urban Plaza, 1986
architectural model with platform (on plinth)
273/4 x 25 x 163/4 inches
Collection of Vancouver Art Gallery, Vancouver
9. Camera Obscura Mobile, 1996
mixed media
83 x 561/4 x 189 inches
Collection of FRAC Haute Sotteville-lès-Rouen
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| Selected Bibliography |
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Rodney Graham
Rodney Graham: Cinema, Music, Video. Brussels: Yves Gevaert in association with Kunsthalle Vienna, 1999. Texts by Alexander Alberro, Michael Glasmeier, Rodney Graham, and Shep Steiner.
Island Thought I, no. 1. Published in association with Canada XLVII Biennale di Venezia. Toronto: Art Gallery of York University 1997. Texts by William Gibson,
Rodney Graham, Robert Linsley, and Shep Steiner.
Rodney Graham: Works from 1976 to 1994. Toronto: Art Gallery of York University, Brussels: Yves Gevaert, Chicago: The Renaissance Society at the University of Chicago, 1994. Texts by Marie-Ange Brayer, Boris Groys, Matthew Teitelbaum, and Jeff Wall.
Vera Lutter
Newton, Crary, Lutter. New York: Roth Horowitz LLC, 1999. Essay by Jonathan Crary.
Vera Lutter: Sight and Sense. New York: Hypo-Bank, 1995. Essay by Nina Felshin.
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| Biography |
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Born in 1949 in Masqui, British Columbia, Rodney Graham studied art history
at the University of British Columbia from 1968 to 1971 and at Simon Fraser University in Vancouver from 1978 to 1979. Beginning with a series of solo shows in the late 1980s, he has exhibited widely in North America and Europe, including in Documenta IX, 1992, and in the Biennale of Venice, 1993, where he represented Canada. His most recent museum exhibition was held at the Kunsthalle Vienna in summer 1999. Graham lives and works in Vancouver.
Vera Lutter was born in Kaiserslautern, Germany, in 1960. After receiving a diploma in fine arts from the Munich Academy in 1990, she studied photography from 1993 to 1995 at the School of Visual Arts in New York City, where she continues to live and work. In addition to several solo shows, Lutter has undertaken a number of commissions, most recently for Dia Center for the Arts in Beacon, New York, the site of its future museum. In summer 1999 she was the recipient of a grant from the Kulturstiftung Friedrichshafen where she photographed in a zeppelin factory.
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| Funding |
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Funding for this exhibition has been provided by Carla Emil and Rich Silverstein, Ann Tenenbaum and Thomas H. Lee, the Robert Mapplethorpe Foundation, Inc., the British Columbia Arts Council, the Consulate General of the Federal Republic of Germany, and the members of the Dia Art Council, with additional assistance from Donald Young Gallery, Chicago.
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