Freud Supplement (170a - 170d)
Rodney Graham
1989
Freud Supplement (170a - 170d)
Freud Supplement (170a - 170d)
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In this conceptual alteration of Freud’s The Interpretation of Dreams, Rodney Graham uses a facsimile section of Volume IV of the Standard Edition of the Complete Psychological Works of Sigmund Freud (Hogarth Press, 1953–1974), folding ...
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Freud Supplement (170a - 170d)
Rodney Graham
1989
[New York, Brussels, Paris and Cologne]: Christine Burgin, Yves Gevaert, Philippe Nelson and Johnen & Schöttle
Unpaginated [24 pages]
22.5 × 14.3 cm
Edition of 100; signed and numbered 79/100

In this conceptual alteration of Freud’s The Interpretation of Dreams, Rodney Graham uses a facsimile section of Volume IV of the Standard Edition of the Complete Psychological Works of Sigmund Freud (Hogarth Press, 1953–1974), folding in an invented “supplement” that interrupts Freud mid-sentence with new material of Graham’s own: an analysis of Freud’s “Botanical Monograph Dream”. The logic of this revision is explained in a diagram on the front dust jacket and in a disclaimer on the first flap:


 


“The first four of these additional pages are blank, while the second four, numbered 170a to 170d, have been fitted with a text devised by the artist and set in a typeface and format replicating that of the Standard Edition: Baskerville 11/12, 23 ems per measure, 41 lines per page.


 


The supplement interrupts Freud in mid-sentence (“It was not until I had recalled…”) and carries his line of thought elsewhere (“… another recent event… etc…”), introducing new associative material into Freud’s analysis of his own so-called Botanical Monograph Dream of March, 1898.


 


The artist’s research sources were Freud’s letters of the period, in particular the letter to Wilhelm Fliess (the “Berlin friend” of the dream) dated January 16, 1898, and the January 7 letter to Joseph Breuer (arguably the eye surgeon of the “glaucoma” phantasy).”


 


Graham’s livresque appropriations are remarkably varied – including Ian Fleming’s Dr No, Edgar Allan Poe’s “Landor’s Cottage,” and Herman Melville’s La Véranda, present in the Metabooks collection – and employ strategies of polysemy, pastiche, and mathematical systems. Often invisible at first glance, these interventions transform iconic writings into sculptural objects while opening them onto questions of authorship and the status of the book as an artistic medium.

[New York, Brussels, Paris and Cologne]: Christine Burgin, Yves Gevaert, Philippe Nelson and Johnen & Schöttle
Unpaginated [24 pages]
22.5 × 14.3 cm
Edition of 100; signed and numbered 79/100

In this conceptual alteration of Freud’s The Interpretation of Dreams, Rodney Graham uses a facsimile section of Volume IV of the Standard Edition of the Complete Psychological Works of Sigmund Freud (Hogarth Press, 1953–1974), folding in an invented “supplement” that interrupts Freud mid-sentence with new material of Graham’s own: an analysis of Freud’s “Botanical Monograph Dream”. The logic of this revision is explained in a diagram on the front dust jacket and in a disclaimer on the first flap:

 

“The first four of these additional pages are blank, while the second four, numbered 170a to 170d, have been fitted with a text devised by the artist and set in a typeface and format replicating that of the Standard Edition: Baskerville 11/12, 23 ems per measure, 41 lines per page.

 

The supplement interrupts Freud in mid-sentence (“It was not until I had recalled…”) and carries his line of thought elsewhere (“… another recent event… etc…”), introducing new associative material into Freud’s analysis of his own so-called Botanical Monograph Dream of March, 1898.

 

The artist’s research sources were Freud’s letters of the period, in particular the letter to Wilhelm Fliess (the “Berlin friend” of the dream) dated January 16, 1898, and the January 7 letter to Joseph Breuer (arguably the eye surgeon of the “glaucoma” phantasy).”

 

Graham’s livresque appropriations are remarkably varied – including Ian Fleming’s Dr No, Edgar Allan Poe’s “Landor’s Cottage,” and Herman Melville’s La Véranda, present in the Metabooks collection – and employ strategies of polysemy, pastiche, and mathematical systems. Often invisible at first glance, these interventions transform iconic writings into sculptural objects while opening them onto questions of authorship and the status of the book as an artistic medium.

DESCRIPTION

In this conceptual alteration of Freud’s The Interpretation of Dreams, Rodney Graham uses a facsimile section of Volume IV of the Standard Edition of the Complete Psychological Works of Sigmund Freud (Hogarth Press, 1953–1974), folding in an invented “supplement” that interrupts Freud mid-sentence with new material of Graham’s own: an analysis of Freud’s “Botanical Monograph Dream”. The logic of this revision is explained in a diagram on the front dust jacket and in a disclaimer on the first flap:

 

“The first four of these additional pages are blank, while the second four, numbered 170a to 170d, have been fitted with a text devised by the artist and set in a typeface and format replicating that of the Standard Edition: Baskerville 11/12, 23 ems per measure, 41 lines per page.

 

The supplement interrupts Freud in mid-sentence (“It was not until I had recalled…”) and carries his line of thought elsewhere (“… another recent event… etc…”), introducing new associative material into Freud’s analysis of his own so-called Botanical Monograph Dream of March, 1898.

 

The artist’s research sources were Freud’s letters of the period, in particular the letter to Wilhelm Fliess (the “Berlin friend” of the dream) dated January 16, 1898, and the January 7 letter to Joseph Breuer (arguably the eye surgeon of the “glaucoma” phantasy).”

 

Graham’s livresque appropriations are remarkably varied – including Ian Fleming’s Dr No, Edgar Allan Poe’s “Landor’s Cottage,” and Herman Melville’s La Véranda, present in the Metabooks collection – and employ strategies of polysemy, pastiche, and mathematical systems. Often invisible at first glance, these interventions transform iconic writings into sculptural objects while opening them onto questions of authorship and the status of the book as an artistic medium.

[New York, Brussels, Paris and Cologne]: Christine Burgin, Yves Gevaert, Philippe Nelson and Johnen & Schöttle
Unpaginated [24 pages]
22.5 × 14.3 cm
Edition of 100; signed and numbered 79/100

In this conceptual alteration of Freud’s The Interpretation of Dreams, Rodney Graham uses a facsimile section of Volume IV of the Standard Edition of the Complete Psychological Works of Sigmund Freud (Hogarth Press, 1953–1974), folding in an invented “supplement” that interrupts Freud mid-sentence with new material of Graham’s own: an analysis of Freud’s “Botanical Monograph Dream”. The logic of this revision is explained in a diagram on the front dust jacket and in a disclaimer on the first flap:

 

“The first four of these additional pages are blank, while the second four, numbered 170a to 170d, have been fitted with a text devised by the artist and set in a typeface and format replicating that of the Standard Edition: Baskerville 11/12, 23 ems per measure, 41 lines per page.

 

The supplement interrupts Freud in mid-sentence (“It was not until I had recalled…”) and carries his line of thought elsewhere (“… another recent event… etc…”), introducing new associative material into Freud’s analysis of his own so-called Botanical Monograph Dream of March, 1898.

 

The artist’s research sources were Freud’s letters of the period, in particular the letter to Wilhelm Fliess (the “Berlin friend” of the dream) dated January 16, 1898, and the January 7 letter to Joseph Breuer (arguably the eye surgeon of the “glaucoma” phantasy).”

 

Graham’s livresque appropriations are remarkably varied – including Ian Fleming’s Dr No, Edgar Allan Poe’s “Landor’s Cottage,” and Herman Melville’s La Véranda, present in the Metabooks collection – and employ strategies of polysemy, pastiche, and mathematical systems. Often invisible at first glance, these interventions transform iconic writings into sculptural objects while opening them onto questions of authorship and the status of the book as an artistic medium.

MORE BOOKS

In this conceptual alteration of Freud’s The Interpretation of Dreams, Rodney Graham uses a facsimile section of Volume IV of the Standard Edition of the Complete Psychological Works of Sigmund Freud (Hogarth Press, 1953–1974), folding in an invented “supplement” that interrupts Freud mid-sentence with new material of Graham’s own: an analysis of Freud’s “Botanical Monograph Dream”. The logic of this revision is explained in a diagram on the front dust jacket and in a disclaimer on the first flap:

 

“The first four of these additional pages are blank, while the second four, numbered 170a to 170d, have been fitted with a text devised by the artist and set in a typeface and format replicating that of the Standard Edition: Baskerville 11/12, 23 ems per measure, 41 lines per page.

 

The supplement interrupts Freud in mid-sentence (“It was not until I had recalled…”) and carries his line of thought elsewhere (“… another recent event… etc…”), introducing new associative material into Freud’s analysis of his own so-called Botanical Monograph Dream of March, 1898.

 

The artist’s research sources were Freud’s letters of the period, in particular the letter to Wilhelm Fliess (the “Berlin friend” of the dream) dated January 16, 1898, and the January 7 letter to Joseph Breuer (arguably the eye surgeon of the “glaucoma” phantasy).”

 

Graham’s livresque appropriations are remarkably varied – including Ian Fleming’s Dr No, Edgar Allan Poe’s “Landor’s Cottage,” and Herman Melville’s La Véranda, present in the Metabooks collection – and employ strategies of polysemy, pastiche, and mathematical systems. Often invisible at first glance, these interventions transform iconic writings into sculptural objects while opening them onto questions of authorship and the status of the book as an artistic medium.

MORE BOOKS