[The Piazza 4.1] (bookmark)
Rodney Graham
1989
[The Piazza 4.1] (bookmark)
[The Piazza 4.1] (bookmark)
Rodney Graham’s livresque appropriations are not only remarkably varied, ranging from Ian Fleming’s Dr. No and Edgar Allan Poe’s “Landor’s Cottage” to Sigmund Freud’s The Interpretation of Dreams, but also employ a wide array of ...
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[The Piazza 4.1] (bookmark)
Rodney Graham
1989
New York and Bruxelles: Christine Burgin Gallery and Yves Gevaert Editeur
Unpaginated [bookmark; part of Herman Melville's short story "The Piazza", which is missing]
26 × 15.6 cm
Edition of 25

Rodney Graham’s livresque appropriations are not only remarkably varied, ranging from Ian Fleming’s Dr. No and Edgar Allan Poe’s “Landor’s Cottage” to Sigmund Freud’s The Interpretation of Dreams, but also employ a wide array of strategies, from polysemy and pastiche to mathematical systems.


 


This bookmark forms part of Graham’s exploration of Herman Melville, whose writings he revisited twice in 1989: first in La Véranda (held in the Metabooks collection) and subsequently in The Piazza 4.1, of which he published only 25 copies. The latter was accompanied by two original bookmarks, one of which Graham inserted between pages 4 and 5, thereby adding a new page to Melville’s original story. While Melville’s short story is narrated in the first person and describes a veranda he added to his country house, along with the landscape it affords a view of, Graham’s loose bookmark describes a decorative element – with almost Balzacian attention to detail – a “bracket” or “capital” that joins one of the veranda’s pillars to its roof.


 


Although now detached from the book to which it belongs, this piece of ephemera illustrates Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.

New York and Bruxelles: Christine Burgin Gallery and Yves Gevaert Editeur
Unpaginated [bookmark; part of Herman Melville's short story "The Piazza", which is missing]
26 × 15.6 cm
Edition of 25

Rodney Graham’s livresque appropriations are not only remarkably varied, ranging from Ian Fleming’s Dr. No and Edgar Allan Poe’s “Landor’s Cottage” to Sigmund Freud’s The Interpretation of Dreams, but also employ a wide array of strategies, from polysemy and pastiche to mathematical systems.

 

This bookmark forms part of Graham’s exploration of Herman Melville, whose writings he revisited twice in 1989: first in La Véranda (held in the Metabooks collection) and subsequently in The Piazza 4.1, of which he published only 25 copies. The latter was accompanied by two original bookmarks, one of which Graham inserted between pages 4 and 5, thereby adding a new page to Melville’s original story. While Melville’s short story is narrated in the first person and describes a veranda he added to his country house, along with the landscape it affords a view of, Graham’s loose bookmark describes a decorative element – with almost Balzacian attention to detail – a “bracket” or “capital” that joins one of the veranda’s pillars to its roof.

 

Although now detached from the book to which it belongs, this piece of ephemera illustrates Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.

DESCRIPTION

Rodney Graham’s livresque appropriations are not only remarkably varied, ranging from Ian Fleming’s Dr. No and Edgar Allan Poe’s “Landor’s Cottage” to Sigmund Freud’s The Interpretation of Dreams, but also employ a wide array of strategies, from polysemy and pastiche to mathematical systems.

 

This bookmark forms part of Graham’s exploration of Herman Melville, whose writings he revisited twice in 1989: first in La Véranda (held in the Metabooks collection) and subsequently in The Piazza 4.1, of which he published only 25 copies. The latter was accompanied by two original bookmarks, one of which Graham inserted between pages 4 and 5, thereby adding a new page to Melville’s original story. While Melville’s short story is narrated in the first person and describes a veranda he added to his country house, along with the landscape it affords a view of, Graham’s loose bookmark describes a decorative element – with almost Balzacian attention to detail – a “bracket” or “capital” that joins one of the veranda’s pillars to its roof.

 

Although now detached from the book to which it belongs, this piece of ephemera illustrates Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.

New York and Bruxelles: Christine Burgin Gallery and Yves Gevaert Editeur
Unpaginated [bookmark; part of Herman Melville's short story "The Piazza", which is missing]
26 × 15.6 cm
Edition of 25

Rodney Graham’s livresque appropriations are not only remarkably varied, ranging from Ian Fleming’s Dr. No and Edgar Allan Poe’s “Landor’s Cottage” to Sigmund Freud’s The Interpretation of Dreams, but also employ a wide array of strategies, from polysemy and pastiche to mathematical systems.

 

This bookmark forms part of Graham’s exploration of Herman Melville, whose writings he revisited twice in 1989: first in La Véranda (held in the Metabooks collection) and subsequently in The Piazza 4.1, of which he published only 25 copies. The latter was accompanied by two original bookmarks, one of which Graham inserted between pages 4 and 5, thereby adding a new page to Melville’s original story. While Melville’s short story is narrated in the first person and describes a veranda he added to his country house, along with the landscape it affords a view of, Graham’s loose bookmark describes a decorative element – with almost Balzacian attention to detail – a “bracket” or “capital” that joins one of the veranda’s pillars to its roof.

 

Although now detached from the book to which it belongs, this piece of ephemera illustrates Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.

MORE BOOKS

Rodney Graham’s livresque appropriations are not only remarkably varied, ranging from Ian Fleming’s Dr. No and Edgar Allan Poe’s “Landor’s Cottage” to Sigmund Freud’s The Interpretation of Dreams, but also employ a wide array of strategies, from polysemy and pastiche to mathematical systems.

 

This bookmark forms part of Graham’s exploration of Herman Melville, whose writings he revisited twice in 1989: first in La Véranda (held in the Metabooks collection) and subsequently in The Piazza 4.1, of which he published only 25 copies. The latter was accompanied by two original bookmarks, one of which Graham inserted between pages 4 and 5, thereby adding a new page to Melville’s original story. While Melville’s short story is narrated in the first person and describes a veranda he added to his country house, along with the landscape it affords a view of, Graham’s loose bookmark describes a decorative element – with almost Balzacian attention to detail – a “bracket” or “capital” that joins one of the veranda’s pillars to its roof.

 

Although now detached from the book to which it belongs, this piece of ephemera illustrates Graham’s interest in pushing the boundaries of existing texts and revealing the creative potential of seemingly marginal additions.

MORE BOOKS