James Bond. Dr No
Rodney Graham
1991
James Bond. Dr No
James Bond. Dr No
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Graham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages ...
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James Bond. Dr No
Rodney Graham
1991
New York and Toronto: Printed Matter, Inc. and Art Metropole
190 pages
18 × 11.1 cm
Edition of 100; signed and numbered 7/100; with artist’s bookmark

Graham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.

New York and Toronto: Printed Matter, Inc. and Art Metropole
190 pages
18 × 11.1 cm
Edition of 100; signed and numbered 7/100; with artist’s bookmark

Graham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.

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Graham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.

New York and Toronto: Printed Matter, Inc. and Art Metropole
190 pages
18 × 11.1 cm
Edition of 100; signed and numbered 7/100; with artist’s bookmark

Graham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.

MORE BOOKS

Graham’s interest in expanding the boundaries of existing texts and revealing the creative potential of marginal interventions is exemplified in his 1991 intervention into Ian Fleming’s “Dr. No”. By inserting a full-page bookmark between pages 56 and 57, Graham extends and subtly redirects the narrative through a detailed account of a centipede inching across James Bond’s body. This fictional addition numbered 56a unfolds with a sensibility that lies somewhere between Balzac’s richly descriptive realism and Kafka’s uncanny logic, transforming a seemingly peripheral insertion into a potentially integral narrative event.

MORE BOOKS