[{"data":1,"prerenderedAt":255},["ShallowReactive",2],{"article:a-tribute-to-rodney-graham":3,"page:48":182,"page:321":218},{"id":4,"slug":5,"title":6,"excerpt":7,"date":8,"year":9,"formattedDate":10,"typeIds":11,"typeNames":13,"wordCount":15,"isBlack":16,"image":17,"contributors":24,"contentHtml":61,"finalContentHtml":62,"creditsHtml":22,"pdfUrl":63,"vimeo":63,"contributorBios":64,"seo":101},1936,"a-tribute-to-rodney-graham","A Tribute to Rodney Graham","\u003Cp>Close friends, collaborators, and peers share their memories of artist Rodney Graham (1949–2022).\u003C\u002Fp>\n","2024-02-20T08:24:53",2024,"Feb 2024",[12],11,[14],"RI",3288,false,{"src":18,"srcset":19,"width":20,"height":21,"alt":22,"lqip":23},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodnet-splash.jpg","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodnet-splash-768x230.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodnet-splash-1536x460.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodnet-splash.jpg 1920w",1920,575,"","data:image\u002Fwebp;base64,UklGRmwAAABXRUJQVlA4IGAAAABQAwCdASogAAoAPu1kqk4ppaQiMAgBMB2JaV2AADbQGVu1AAD+7d2aYzdNedO6E\u002FFOgjdMVqKztk3WjryPcA4tqGA4bLqJ9C4hKqVaTrfgkQFthO\u002F1rThLYKYS1ZIAAAA=",[25,29,33,37,41,45,49,53,57],{"id":26,"name":27,"slug":28},1946,"Neil Wedman","neil-wedman",{"id":30,"name":31,"slug":32},1953,"Kathy Slade","kathy-slade",{"id":34,"name":35,"slug":36},1954,"Jenifer Papararo","jenifer-papararo",{"id":38,"name":39,"slug":40},1957,"Myfanwy MacLeod","myfanwy-macleod",{"id":42,"name":43,"slug":44},1959,"John Collins","john-collins",{"id":46,"name":47,"slug":48},1955,"Shannon Oksanen","shannon-oksanen",{"id":50,"name":51,"slug":52},1958,"Robert Kleyn","robert-kleyn",{"id":54,"name":55,"slug":56},1960,"Patrik Andersson","patrik-andersson",{"id":58,"name":59,"slug":60},1952,"Ian Wallace","ian-wallace","\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>The idea of putting together a tribute to Rodney Graham came up in the late Fall of 2023, during a conversation between publisher Karina Irvine and myself at the office (the back of UNIT\u002FPITT gallery). As new coworkers, we were getting to know each other, and Rodney came up as an artist whose work we appreciated, and who had collaborated with, inspired, and employed friends and peers in our community. \u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">\u003Cem>We knew there must be so many great anecdotes hanging in the ether, so I got in touch with Shannon to see what she thought about \u003C\u002Fem>ReIssue\u003Cem> initiating a tribute, and the idea quickly snowballed into email exchanges with numerous folks who knew the man. What follows is by no means comprehensive, but conversational in their intersections and divergences. May these shared memories activate new understandings of Graham’s life and work, and inspire you.\u003C\u002Fem>\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Casey Wei, Editor\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRqYAAABXRUJQVlA4IJoAAACwBACdASogABIAPu1qrlCppaQiqAqpMB2JZgAAj0\u002FXRzqilrJFUgGYP28stDEAAP736MC0gQx8\u002Fnpd+xj+yIVDupIfb0iP1f0Wyjoqbn71NH6sWrYAPUqxTqdj7v8YR47CIosxu3FAf8EPKQQczIGnh1PrAIsW7Ps6GBsLVO8HOKiYFzSn+H6vhMRvck0khcurEaPsTGqcAAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-shannon.jpg\" alt=\"\" class=\"lqip wp-image-1938\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-shannon.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-shannon-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-shannon-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-shannon-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003C\u002Ffigure>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Shannon\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I am incredibly lucky to have so many memories of Rodney after spending many happy years working together, if you could call it work. However, being asked to choose only one is incredibly daunting. So I rallied the troops — my kids, Ray, and Coco — and asked them if they could think of any funny memories that come to mind (think quick, kids!). Of course, Ray came up with the most definitive memory of Rodney, watching \u003Cem>Father Ted\u003C\u002Fem>, the Irish sitcom of the 1990s, while we were staying in a charming village house in Bruton, Somerset.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">We had just finished a relatively long stretch of work putting together an exhibition for The Baltic in Newcastle, and had planned a little break in Somerset afterwards. We were all in our pyjamas and ready for bed, feeling very happy to be there, when Rodney suggested that we should all watch\u003Cem> Father Ted\u003C\u002Fem> together. Rodney LOVED \u003Cem>Father Ted\u003C\u002Fem>, almost to the point of obsession. He would quote it almost daily, and there wasn’t anything more fun than watching it with him side by side, hearing him invariably laugh in anticipation of the jokes. Rodney’s laugh was world-class! It was pure JOY! It was contagious. Hearing his laugh could lift the spirits of everyone.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Rodney was pretty good at spreading joy even when he wasn’t laughing because he was always eager to share his passions with others; I guess one could say that he worked pretty hard to make his passions everyone else’s passions. Especially with regard to music — “Wait for it, this part, the way it modulates is just so moving!” — and — “The middle eight here! You GOTTA hear this middle eight!!!”\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I feel we all still have Rodney sharing his passions with us through his work. I think of his lightbox \u003Ca href=\"https:\u002F\u002Fwww.lissongallery.com\u002Fexhibitions\u002Frodney-graham-paintings-and-lightboxes\u002Fartwork\u002Fgrar130019-1-c2e5e349-3286-40f3-a992-6e4914cb6c29\" target=\"_blank\" rel=\"noreferrer noopener\"> \u003Cem>Actor\u002FDirector\u003C\u002Fem>\u003C\u002Fa>\u003Cem> \u003C\u002Fem>(2013)\u003Cem> \u003C\u002Fem> which was really about his love of technicolour films and Bob Hope, or \u003Ca href=\"https:\u002F\u002Fwww.303gallery.com\u002Fgallery-exhibitions\u002Frodney-graham3\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>The Gifted Amateur\u003C\u002Fem>\u003C\u002Fa> (2007) which was about Rodney’s lifelong obsession with learning to paint. I only wish we could have him here to listen to him laugh at \u003Cem>Father Ted\u003C\u002Fem> again. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Shannon Oksanen\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Neil\u003C\u002Fh3>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 301'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoYBAABXRUJQVlA4IHoBAABQBgCdASogAB4AA4BaJaQAUYH0B3g+EZYHYEGBKghonjdizkvMxo0DyL6hUTu2OVpbV+FzeKOi3WTTwAD+19LVGk0334\u002FOF4OUgRYQyyKbreZhVWG4ynMp4qJoXYO0Qs40iUntdulYbnR16wB8NxrDnCLgvYXZRisbeFXgLI20AGBRXLdYZXTKow8EL1BWXCeHQHwPj3vnwt+Q7hHIjzUxFKTil03cYYVq8nv5D+bD6Svs59WxuQw3z3\u002FTq47r4NyD3GJ62bPr2hxUKpRkDTOeKXMTnnfPg9WiNShs+EVT3dBmZkZO+AsQowiYV\u002F71NJvjeEhttGCN91ntRRVdTafwdeX6nK4uwko+S40i6KVCzfgJTHstnmKrPsgKMZDC8ay22xfQJyXu1t49MG0vqMT+OjM2WsnM3hsBM3TLP8PO+gcM9q0OmR9QsBxcKB\u002FyvKIZ5w7WXte7u5HRqqRBtqluEZ895Ln1+oZAWvSNjLUzN6tDrRFMke5pOgA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1744\" height=\"1643\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-neil.jpg\" alt=\"\" class=\"lqip wp-image-1947\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-neil.jpg 1744w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-neil-768x724.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-neil-1536x1447.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-neil-100x94.jpg 100w\" sizes=\"auto, (max-width: 1744px) 100vw, 1744px\" \u002F>\u003C\u002Fspan>\u003C\u002Ffigure>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">This submission is from when Rodney hired me to make a set of four comic strips sequencing an invented narrative for \u003Cem>The Gifted Amateur\u003C\u002Fem>. I had for reference a smaller reproduction of the principal image of the fictional artist at work, as well as video of some black and white footage of Rodney in character as the pyjama-wearing amateur reading, thinking, smoking, and listening to music. That short, improvised film was immensely useful in plotting the course of the comic strips. I roughly based the drawing style of the comic on Kerry Drake, a syndicated strip that would have been in wide circulation in the early sixties when the subject was set. My strip was published in a daily newsletter for Frieze Art Fair, around 2008, I think. The fair was for four days and one new episode of \u003Cem>The Gifted Amateur\u003C\u002Fem> appeared each day.\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Patrik\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"has-text-align-center wp-block-paragraph\">“Just sayin’ live and let die… Im thinking, some people never die”\u003Cbr>— Rodney Graham Band, “Old Pine Casket,” from \u003Cem>Gondoliers\u003C\u002Fem>, 2017\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I met Rodney in 1990 through my friend and artist Shannon Oksanen, his future wife. At that time I was already quite a big fan of his work having discovered his book \u003Cem>\u003Ca href=\"https:\u002F\u002Fwww.abebooks.com\u002FRodney-Graham-System-Landors-Cottage-Poes\u002F21164448435\u002Fbd\" target=\"_blank\" rel=\"noreferrer noopener\"> The System of Landor’s Cottage\u003C\u002Fa>\u003C\u002Fem> (1987) included in a show at the Perel Gallery on Hastings Street. I would later learn that it was in this very same building that he used to rehearse with his friends in their post-punk band the \u003Ca href=\"https:\u002F\u002Fprimaryinformation.org\u002Fproduct\u002Fuj3rk5-live-from-the-commodore-ballroom\u002F\" target=\"_blank\" rel=\"noreferrer noopener\">UJ3RK5\u003C\u002Fa>. By the time I got to know Rodney as a friend he had shifted gears and was more focused on classical music. He was just completing \u003Ca href=\"https:\u002F\u002Fartistsbooksandmultiples.blogspot.com\u002F2015\u002F05\u002Frodney-graham-verwandlungsmusik.html\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>Verwandlungsmusik\u003C\u002Fem> (\u003Cem>Transformation Music\u003C\u002Fem>)\u003C\u002Fa> (1991), a CD with excerpts from his monumental \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fartworks\u002Fgraham-parsifal-1882-38-969-364-735-t11933\">Parsifal (\u003C\u002Fa>\u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fartworks\u002Fgraham-parsifal-1882-38-969-364-735-t11933\" target=\"_blank\" rel=\"noreferrer noopener\">1882–38,969,365,735)\u003C\u002Fa> (1990), a work that characterises his extraordinary ability to situate himself between positions of deconstruction and reconstruction of modernist tropes by interpolating himself into their structures, creating ambiguity around authorship and using repetition, looping and other methods to focus attention on the edges of modernism. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Not particularly fond of Wagner, I found the very idea of using rigorous math to extend his score billions of years into the future both mind-boggling and hilarious. Not only was this the first of many CDs to come — albeit more pop and rock in the future — but it was also the first time he would include his own image in his work with a commissioned portrait by Neil Wedman in the style of a young classical composer circa 1950. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">At a time when everyone was positioning themselves as forward thinkers by calling themselves modernists or postmodernists, Rodney took a hyper-modernist approach. He was a time travelling rambling man who studied the philosophies and art of the past so closely that he found in its details what Feurbach once called its \u003Cem>entwicklungsfähigkeit\u003C\u002Fem> — its capability to be developed and be relevant. With intellect, a lot of style and humour, Rodney made us pay attention to aesthetics and the footnotes of history. While I spent over a decade studying art history at colleges and universities, it was Rodney who got me into art. Through him I learned to travel in the world of art, literature, music and theory. I have never taken this generosity and his friendship for granted. Just as the \u003Cem>Parsifal\u003C\u002Fem> score extends for 38 billion years, so will Rodney’s impact on all of us.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Patrik Andersson\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">John\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">When \u003Cem>Austin Powers: International Man of Mystery\u003C\u002Fem> first hit theatres in 1997, I was skeptical without even knowing much about it. Rodney had seen it though, and while we drove from Kerrisdale to downtown Vancouver, he spent a good 20-minutes going over his favourite scenes and gags of the movie. He loved the highbrow\u002Flowbrow attack: James Bond stars in \u003Cem>Blow Up\u003C\u002Fem>. Following that conversation, I did see it, and was able to appreciate that silly movie as the result of Rodney’s priming.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I returned the favour a year or so later. One night, Rodney called me from a hotel room in Chicago, distraught about the TV programming options available in his room. He read the list of shows available to me, and when he got to the pay-per-view section and \u003Cem>The Waterboy\u003C\u002Fem>, I stopped him right there and told him his troubles were over. Like me with Austin Powers the year before, he had his doubts about this Adam Sandler movie. After much convincing, he decided to give \u003Cem>The Waterboy\u003C\u002Fem> a chance!\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Later, he told me that it really did the trick, and it made me so happy that I still think about it 20 years later. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– John Collins\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRqAAAABXRUJQVlA4IJQAAACwBACdASogABIAPu1qsVAppiUiqAqpMB2JaQAD5RM2\u002FzIncMrOaAG9A0y31YhgAP73BqvdnqTsR8emeiz\u002FRuZW21zObclgaY20sA7tb9KTzkpWh1moZEfp0qiSYWVzOzObB0RkmqwBnxmhJ8TLWQdrSvSdXTdTbc\u002F1J2SHYMuFMHvufh5IiksrWaTjrCN33sAAAAAA'\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-frank.jpg\" alt=\"\" class=\"lqip wp-image-1940\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-frank.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-frank-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-frank-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-frank-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003C\u002Ffigure>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Robert\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">A grainy old photo, one I took and printed myself, shows the young Rodney Graham and Frank Johnson posing before one of Frank’s ‘hyper-banal’ paintings. Frank, later the frontman for UJ3RK5, introduced me to Rodney in 1969 in the Fine Arts library at UBC, our haunt between classes. Rodney nestles a copy of \u003Cem>Ubu Roi\u003C\u002Fem> which, along with\u003Cem> Impressions of Africa\u003C\u002Fem> and \u003Cem>The Prince of Homburg\u003C\u002Fem>, founded his early art-thinking. A surrealist leaning, which never left Rodney’s work, was cooled by the conceptualist influence of Ian Wallace whom Rodney and I often visited. Rodney and Frank had both been Ian’s students, he set them on the modernist path, unlike me who wandered into it after an encounter with the work of Art-Language.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">From those shining days on, Rodney was the friend with whom I could have intense conversations on whatever we liked, from jazz, which he knew very well, to mathematics which I had studied prior to architecture (particularly number theory in which Rodney too took a deep interest) and of course literature, preferably fantastical, and film, preferably black and white. We took some of the same courses at UBC (film history, structural anthropology, a studio with Tom Burrows) and dropped acid together with Frank and dawdled about the city in Rodney’s ancient Austin, registering the landscapes of our artistic imaginary — construction sites, decaying houses, empty swimming pools. We were roommates for a couple of years and I discovered that Rodney did not know how to wash dishes. For a brief period, before I ran off to Italy, Rodney and I sported identical Saint Laurent trench coats like Lemmy Caution, and we both had Leica Minilux cameras and enjoyed palindromes.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">When Rodney stayed with me in Rome, his Leica was stolen, so he concocted pinhole cameras out of matchboxes and junk, then set off in search of the uncanny. His ingenuity in rising above the occasion, in floating just beyond the necessary, is precisely what he’s left us as an example of being in the world. As Ian Wallace says, Rodney was a genius; yes, undoubtedly so, much like another Canadian savant Glenn Gould — original spirits in the true sense of the word.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Robert Kleyn\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Myfanwy\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Rodney and I first met in the mid-90s under what I would describe as awkward circumstances. At that time, he was an already well-known artist, and I was a recent art school grad. The Or Gallery had asked me to donate to their auction, and I chose a suite of watercolour portraits of the infamous ‘Vancouver School’ that included Rodney, which I irreverently titled, \u003Cem>All You Need Is Love\u003C\u002Fem>. At the party later, I was anxious about how he would react, but to my surprise and relief, he took it with grace and humour.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Rodney’s ability to not take himself too seriously made me a lifelong fan, but his generosity made me grateful to be his friend. He would always say YES to everyone and everything. He hired me as his studio assistant even though I had absolutely no skills. The years I spent working for him and his partner in crime, Shannon Oksanen, taught me so much about the kind of artist I wanted to become!\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">His largesse was most apparent in his artistic practice; nothing was beneath his regard. We both shared a love for popular culture, and his breadth of knowledge was astounding and, at times, intimidating. But it was the pure goofiness of some of his ideas that I appreciated most. Once, when I struggled to develop an idea for an exhibition, he suggested a sculpture based on the mask from the Broadway hit \u003Cem>The Phantom of the Opera\u003C\u002Fem>. Rodney claims that the inspiration for the \u003Ca href=\"https:\u002F\u002Fcovapp.vancouver.ca\u002FPublicArtRegistry\u002FArtworkDetail.aspx?ArtworkId=823&FromArtworkSearch=False\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>Spinning Chandelier\u003C\u002Fem>\u003C\u002Fa> (2019) was an experiment conducted by Isaac Newton; regardless, I suspect it was, in fact, the chandelier in Phantom.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The list of Rodney’s accomplishments, achievements and talents seemed endless and was matched only by his modesty. When I once referred to his songwriting as poetry, he humbly corrected me, stating that it was only doggerel. Still, no one is perfect, and although he excelled at so many things, he was a truly terrible driver, honestly terrifying. But he was an amazing passenger, and we can be thankful for that.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Myfanwy MacLeod\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Ian\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I think about Rodney every day since he passed away on October 22, 2022. He was a dear friend for more than 50 years. We partied together, played music together, shared a house, made art, shared highs and lows, and we had many friends in common.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I first met Rodney when I was an instructor in art history at the University of BC in 1970 when he was a student in my lecture class. I was only 27 and he was about 21. He was the kind of student that a teacher can learn from and I learned a great deal. I don’t use the term “genius” lightly, but Rodney was a true genius. He always had the most informed, original and uniquely personal approach to every topic of the day: not only of intellectual issues but also of pop culture. He loved to entertain and enchant an audience, to introduce them to whatever stimulated his imagination, but never to intimidate them with his intelligence.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In the late ’70s we formed a band called U-J3RK5. He was a very talented musician and songwriter and he followed up the U-J3RK5 project with the Rodney Graham Band. His artwork was always at the forefront of the very best of contemporary art. From his earliest works in the ’70s such as \u003Cem>Illuminated Ravine \u003C\u002Fem>(1979) and \u003Cem>Camera Obscura\u003C\u002Fem> (1979) through to his later videos such as \u003Cem>\u003Ca href=\"https:\u002F\u002Fwww.303gallery.com\u002Fgallery-exhibitions\u002Frodney-graham6\u002Fvideo?view=slider\" target=\"_blank\" rel=\"noreferrer noopener\">Vexation Island\u003C\u002Fa>\u003C\u002Fem> (1997), he stood out as a unique and inspiring artist not only of personal and aesthetic originality, but also of philosophical importance. In my opinion, the most engaging work that revealed his ironic, self-deprecating sense of humour were the late large-scale back-lit photographic transparencies. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">At the end of his life, while he was recovering from his illness, Robert Kleyn, who was also a long-time close friend, and I would regularly visit Rodney in his backyard for gin and tonic and conversation. We were to meet in that last week of October 2022, when he cancelled our visit because he had to return to the hospital. He passed away soon after on October 22, 2022. Since then, I have been thinking of Rodney every day.      \u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Ian Wallace\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Cfigure class=\"wp-block-image size-full\">\u003Cspan class=\"lqip-wrap\" style=\"background-image:url("data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 180'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRqgAAABXRUJQVlA4IJwAAACwBACdASogABIAPu1mrE+ppSQiMBgIATAdiWUACBAGBX2aoUS9X5XRTvv95lgAAP72CXG5VDy9\u002FLrbqwJhsf2DXPM5rckBle83j9iz\u002FTpUhFfc\u002FoXdiTtV126qCmwp0M8ZOzYyCZMsA+gOZzIScS1MrCyiffTuOgkNbrifIX\u002FHG+BrucqeW2lDemwAwBQ+U+rtWs271vgxksdu4AA='\u002F%3E%3C\u002Fsvg%3E")\">\u003Cimg loading=\"lazy\" decoding=\"async\" width=\"1920\" height=\"1080\" src=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-john2.jpg\" alt=\"\" class=\"lqip wp-image-1942\" srcset=\"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-john2.jpg 1920w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-john2-768x432.jpg 768w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-john2-1536x864.jpg 1536w, https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2024\u002F02\u002Frodney-john2-100x56.jpg 100w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\" \u002F>\u003C\u002Fspan>\u003C\u002Ffigure>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">John\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">In May 2000, I was sitting in the passenger seat of a taxi, with my sister, Rodney, and Dan Graham in the back. Rodney and Dan were good friends, and Rodney cherished and looked up to Dan a bit, but I think generally they saw each other as equals. We were en route to an afterparty following the opening of Rodney’s DIA show with Bruce Nauman, \u003Ca href=\"https:\u002F\u002Fwww.diaart.org\u002Fmedia\u002F_file\u002Fbrochures\u002Fgraham-rodney-and-nauman-bruce-the-nearest-faraway-place-2.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>…the nearest faraway place…\u003C\u002Fem>\u003C\u002Fa>. During the ride, Dan came clean at one point, admitting that he didn’t quite see what Rodney was trying to achieve with \u003Ca href=\"https:\u002F\u002Fyoutu.be\u002F1dCwjlH7rsE?si=zuxwumWsqPiZK8do\" target=\"_blank\" rel=\"noreferrer noopener\">\u003Cem>How I Became a Ramblin’ Man\u003C\u002Fem>\u003C\u002Fa> \u003Cem>(\u003C\u002Fem>1999). “What’s the point of it?” was his basic question.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">After a short pause, Rodney simply said, “I just wanted to do a piece about ramblin.'” It was awesome.\u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– John Collins\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Jenifer\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Rodney’s many masculine guises catalogue the perversity of the cis-male ego. The duality of parody and exposure is a sharp line through Rodney’s photographs where he transforms himself into a myriad of middle-aged white male characters. These archetypes include: a blank faced poker player,\u003Cspan id='easy-footnote-1-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-1-1936' content='\u003Cem>Good Hand Bad Hand\u003C\u002Fem>, 2010, two painted aluminum lightboxes with transmounted chromogenic transparencies, 35\u003Cstrong>¼\u003C\u002Fstrong> x 29\u003Cstrong>¼\u003C\u002Fstrong> x 7 inches each.' v-tippy='{ allowHTML: true }'>1\u003C\u002Fsup>\u003C\u002Fspan> an aging and pensive drywaller,\u003Cspan id='easy-footnote-2-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-2-1936' content='\u003Cem>Smoke Break 2 (Drywaller)\u003C\u002Fem>, 2012, painted aluminium lightboxes with transmounted chromogenic transparencies, diptych 3680 × 3040 × 180 milimeters.' v-tippy='{ allowHTML: true }'>2\u003C\u002Fsup>\u003C\u002Fspan> an exhausted sous-chef,\u003Cspan id='easy-footnote-3-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-3-1936' content='\u003Cem>Betula Pendula ‘Fastigiata’ (Sous-Chef on Smoke-Break),\u003C\u002Fem> 2011, painted aluminum lightbox with transmounted chromogenic transparency, 95⅝ x 71⅝ x 7 inches.' v-tippy='{ allowHTML: true }'>3\u003C\u002Fsup>\u003C\u002Fspan> or an ardent outdoorsman\u003Cspan id='easy-footnote-4-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-4-1936' content='\u003Cem>Paddler, Mouth of the Seymour\u003C\u002Fem>, 2012–2013, three painted aluminum lightboxes with transmounted chromogenic transparencies, triptych 304 x 554 x 18 centimetres each.' v-tippy='{ allowHTML: true }'>4\u003C\u002Fsup>\u003C\u002Fspan> to performing caricatures that hover closer to his professional experience via his representations of the uptight and meticulous male gallerist\u003Cspan id='easy-footnote-5-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-5-1936' content='\u003Cem>Vacuuming the Gallery 1949\u003C\u002Fem>, 2018, four painted aluminum lightboxes with transmounted chromogenic transparencies, 119½ x 71½ x 7 inches each.' v-tippy='{ allowHTML: true }'>5\u003C\u002Fsup>\u003C\u002Fspan> or his portrayals of the lone male artist as painter in the gallery, home and studio.\u003Cspan id='easy-footnote-6-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-6-1936' content='\u003Cem>My Late Early Styles (Part I, The Middle Period),\u003C\u002Fem> 2007–2009, chromogenic photograph; 186.4 x 247.6 centimetres; \u003Cem>The Gifted Amateur, Nov 10th, 1962, \u003C\u002Fem>2007, three painted aluminum lightboxes with transmounted chromogenic transparencies, 286.1 x 556 x 17.8 centimetres installed; \u003Cem>Pipe Cleaner Artist, Amalfi, ’61, \u003C\u002Fem>2011, painted aluminum lightbox with transmounted chromogenic transparency; 230.3 x 181.9 x 17.8 centimetres each.' v-tippy='{ allowHTML: true }'>6\u003C\u002Fsup>\u003C\u002Fspan> or instance, in the photo diptych\u003Ca href=\"https:\u002F\u002Fwww.e-flux.com\u002Fcriticism\u002F239754\u002Frodney-graham-s-media-studies\">\u003Cem> Media Studies ‘77\u003C\u002Fem>\u003C\u002Fa>,\u003Cspan id='easy-footnote-7-1936'>\u003C\u002Fspan>\u003Cspan class='easy-footnote'>\u003Csup id='easy-footnote-7-1936' content='\u003Cem>Media Studies ‘77\u003C\u002Fem>, 2016, two painted aluminum lightbox with transmounted chromogenic transparencies, 232.4 x 375.9 x 17.8 centimetres installed.' v-tippy='{ allowHTML: true }'>7\u003C\u002Fsup>\u003C\u002Fspan> Rodney captures the hubris of the macho college professor in mid-lecture. With the black board scrubbed clean and the television monitor blank, the posture and elaborate dress of the teacher is not only the subject of the artwork but also the topic of the imaginary lesson being taught.  \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">As Rodney ridicules the photo’s subject, he also exposes how the authority of cis-male knowledge is reinforced. At the base of Rodney’s critique of the white male ego is a reflection on individualism: its solipsistic propagation as a moral and justifiable way of existence that is inextricably linked to the rise of the neo-liberal agenda. His ability to capture so succinctly the identities of white masculine stereotypes and deliver them as affecting parody work to underwrite and overturn the reign of the white man’s centre of dominance, flipping the narrative away from the self into a collective derision, and ultimately into an understanding of interdependence.    \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">Even though Rodney is most commonly the solo actor in these photos, the illusion of a singular vision is simply that: an illusion that unravels with the hilarious debunking of the phallocentric cis-male lead. I was fortunate to befriend Rodney, and more intimately his inner circle, including my dear friend artist Shannon Oksanen who is often cited as Rodney’s muse, but should be more rightly be credited as collaborator; and the musician Scott Livingston who, with Rodney and Shannon, ran an artist studio that facilitated the complexities of collaboration wherein the intricacies of the characters acted by Rodney were devised, and the elaborate settings constructed for the calcitrant male ego to exist were staged. Rodney as a singular artist is a construct linked to his performance of the artist. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">I use this body of work to illicit Rodney as a critical thinker, collaborator and person, but also as a series that will circle Rodney back to life with the sardonic irony to which his gaze is steadily fixed. The artist as genius isn’t real. That figuration isn’t needed or wanted. It is a conceit that bolsters singularity and individualism, and because it is a persistent myth it is in constant need of unravelling. This reading gives an understanding into who Rodney was and how he operated in the world. As an artist, he created in relation to a tight group of thinkers who worked collectively and in sync. When Rodney passed in late 2022, the word generosity was used to describe him in commemoration more than any other, and I place this generosity at the heart of his artistic production – one that mocked the ruse of the singular artist and welcomed collaboration of vision and a life of connections. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Jenifer Papararo\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\n\n\n\u003Ch3 class=\"wp-block-heading\">Kathy\u003C\u002Fh3>\n\n\n\n\u003Cp class=\"wp-block-paragraph\">The last time I saw Rodney was a warm afternoon in early August, 2022. We sat in his back garden, and he made me a gin and tonic with pink tonic water. Reading from his phone, he gently recited the lyrics from “A Strong Sweet Smell of Incense,” a new song he had written. His voice was soft and raspy. The song was based on Richard Hamilton’s \u003Cem>Swingeing London ‘67 \u003C\u002Fem>(1968–1969), a collage made of newspaper clippings from the Redlands trial, the Stones’ 1967 drug bust trial. From Hamilton’s collection of news reports, Rodney selected descriptions of what Mick, Keith, and Marianne Faithful wore during the course of the trial and composed them into this gorgeous sartorial rock star poem of a song. It was truly great. There will never again be anyone like Rodney. \u003C\u002Fp>\n\n\n\n\u003Cp class=\"has-text-align-right wp-block-paragraph\">– Kathy Slade\u003C\u002Fp>\n\n\n\n\u003Cdiv style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\">\u003C\u002Fdiv>\n\u003Cdiv class=\"easy-footnote-title\">\u003Cp>\u003Cstrong>Notes:\u003C\u002Fstrong>\u003C\u002Fp>\u003C\u002Fdiv>\u003Col class=\"easy-footnotes-wrapper\">\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-1-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Good Hand Bad Hand\u003C\u002Fem>, 2010, two painted aluminum lightboxes with transmounted chromogenic transparencies, 35\u003Cstrong>¼\u003C\u002Fstrong> x 29\u003Cstrong>¼\u003C\u002Fstrong> x 7 inches each.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-1-1936\" aria-label=\"Back to note 1 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-2-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Smoke Break 2 (Drywaller)\u003C\u002Fem>, 2012, painted aluminium lightboxes with transmounted chromogenic transparencies, diptych 3680 × 3040 × 180 milimeters.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-2-1936\" aria-label=\"Back to note 2 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-3-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Betula Pendula ‘Fastigiata’ (Sous-Chef on Smoke-Break),\u003C\u002Fem> 2011, painted aluminum lightbox with transmounted chromogenic transparency, 95⅝ x 71⅝ x 7 inches.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-3-1936\" aria-label=\"Back to note 3 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-4-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Paddler, Mouth of the Seymour\u003C\u002Fem>, 2012–2013, three painted aluminum lightboxes with transmounted chromogenic transparencies, triptych 304 x 554 x 18 centimetres each.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-4-1936\" aria-label=\"Back to note 4 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-5-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Vacuuming the Gallery 1949\u003C\u002Fem>, 2018, four painted aluminum lightboxes with transmounted chromogenic transparencies, 119½ x 71½ x 7 inches each.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-5-1936\" aria-label=\"Back to note 5 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-6-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>My Late Early Styles (Part I, The Middle Period),\u003C\u002Fem> 2007–2009, chromogenic photograph; 186.4 x 247.6 centimetres; \u003Cem>The Gifted Amateur, Nov 10th, 1962, \u003C\u002Fem>2007, three painted aluminum lightboxes with transmounted chromogenic transparencies, 286.1 x 556 x 17.8 centimetres installed; \u003Cem>Pipe Cleaner Artist, Amalfi, ’61, \u003C\u002Fem>2011, painted aluminum lightbox with transmounted chromogenic transparency; 230.3 x 181.9 x 17.8 centimetres each.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-6-1936\" aria-label=\"Back to note 6 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003Cli class=\"easy-footnote-single\">\u003Cspan id=\"easy-footnote-bottom-7-1936\" class=\"easy-footnote-margin-adjust\">\u003C\u002Fspan>\u003Cem>Media Studies ‘77\u003C\u002Fem>, 2016, two painted aluminum lightbox with transmounted chromogenic transparencies, 232.4 x 375.9 x 17.8 centimetres installed.\u003Ca class=\"easy-footnote-to-top\" href=\"#easy-footnote-7-1936\" aria-label=\"Back to note 7 in the text\">\u003C\u002Fa>\u003C\u002Fli>\u003C\u002Fol>","\u003Cp>\u003Cstrong>Images\u003C\u002Fstrong>\u003C\u002Fp>\n\u003Col>\n\u003Cli>Rodney and Coco, 2017. Courtesy Shannon Oksanen.\u003C\u002Fli>\n\u003Cli>Neil Wedman, \u003Cem>The Gifted Amateur\u003C\u002Fem>, 2008. Courtesy the artist.\u003C\u002Fli>\n\u003Cli>Rodney and Frank, 1971. Courtesy Robert Kleyn.\u003C\u002Fli>\n\u003Cli>John and Rodney,  1999. Photo: Shannon Oksanen. Courtesy John Collins.\u003C\u002Fli>\n\u003C\u002Fol>\n",null,[65,69,73,77,81,85,89,93,97],{"id":26,"slug":28,"name":27,"firstName":66,"lastName":67,"bioHtml":68},"Neil","Wedman","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Neil Wedman\u003C\u002Fstrong> (b. 1954) lives and works in Vancouver, Canada and is represented there by the Equinox Gallery. He is currently working on a scale model funhouse\u002Fdark ride based on the Gastown Riot of 1971.\u003C\u002Fp>\n",{"id":30,"slug":32,"name":31,"firstName":70,"lastName":71,"bioHtml":72},"Kathy","Slade","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Kathy Slade\u003C\u002Fstrong> is an artist, writer, curator, editor, and publisher. She works across mediums and has produced textile works, prints, sculpture, film, video, performance, music projects, and publications. Select solo exhibitions include: \u003Cem>As the sun disappears and the shadows descend from the mountaintop\u003C\u002Fem>, Contemporary Art Gallery, Vancouver (2023); \u003Cem>Wherever You Go\u003C\u002Fem>, Monica Reyes Gallery, Vancouver (2020); \u003Cem>This is a Chord. This is Another.\u003C\u002Fem>, Surrey Art Gallery (2018); and \u003Cem>Blue Monday\u003C\u002Fem>, 4COSE, London, England (2017). In 2009, Slade was awarded the VIVA Award from the Jack and Doris Shadbolt Foundation for the Visual Arts. She currently teaches at the School for the Contemporary Arts at Simon Fraser University.\u003C\u002Fp>\n",{"id":34,"slug":36,"name":35,"firstName":74,"lastName":75,"bioHtml":76},"Jenifer","Papararo","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Jenifer Papararo\u003C\u002Fstrong> is a curator who is currently leading the vision of the Art Gallery of York University as the Director\u002FCurator. She was previously the Executive Director of Plug In Institute of Contemporary Art, Winnipeg; Curator at the Contemporary Art Gallery, Vancouver and Program Director at Mercer Union, Toronto. She founded the \u003Cem>STAGES: public art biennial\u003C\u002Fem> in 2017 (Winnipeg, Manitoba) and is a founding member of service-oriented curatorial and artist collective Instant Coffee.\u003C\u002Fp>\n",{"id":38,"slug":40,"name":39,"firstName":78,"lastName":79,"bioHtml":80},"Myfanwy","MacLeod","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Myfanwy MacLeod\u003C\u002Fstrong> (b. London, Ontario) is currently based in Vancouver, Canada. She is a renowned artist who has showcased her work both nationally and internationally. Some of her recent exhibitions include \u003Cem>The Botanist\u003C\u002Fem> (2023) at Chapter Arts Centre in Cardiff, Wales, and \u003Cem>Biennale Gherdeina7\u003C\u002Fem> (2020) in Ortisei, Italy. In 1999, she represented Canada at the Melbourne Biennale in Australia and was awarded the VIVA award from the Doris and Jack Shadbolt Foundation. MacLeod is known for her work in public art, locally and internationally. Some of her notable works include \u003Cem>Playtime\u003C\u002Fem> (2016), a collaborative project with Shannon Oksanen and \u003Cem>The Birds\u003C\u002Fem> (2010), both commissioned by the City of Vancouver. Her recent commission, \u003Cem>The Song of the Dodo\u003C\u002Fem>, was installed in December 2023 at the new headquarters of the National Bank of Canada in Montreal.\u003C\u002Fp>\n",{"id":42,"slug":44,"name":43,"firstName":82,"lastName":83,"bioHtml":84},"John","Collins","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>John Collins\u003C\u002Fstrong> is a musician and producer based in Vancouver, BC. He has played bass in bands such as the Evaporators, Destroyer, and the New Pornographers. A long time collaborator in the Rodney Graham band, John has worked on every record, playing bass or some other instrument, or as a producer.\u003C\u002Fp>\n",{"id":46,"slug":48,"name":47,"firstName":86,"lastName":87,"bioHtml":88},"Shannon","Oksanen","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Shannon Oksanen\u003C\u002Fstrong> is an artist and former lead singer for the Vancouver buzz-saw punk and rock band Volumizer. Since the mid-nineties, she has participated in exhibitions across Canada as well as internationally, including solo shows at VTO Gallery, London, England; Or Gallery, Vancouver; and Tracey Lawrence Gallery, Vancouver. Oksanen participated in\u003Cem> Baja to Vancouver, a touring\u003C\u002Fem> exhibition of West Coast artists, coordinated by the Seattle Art Museum, San Diego Museum of Contemporary Art, Vancouver Art Gallery, and the Wattis Art Institute (2003). Select group exhibitions include Gordon Smith Museum, West Vancouver (2017); Kamloops Art Gallery, (2011); Passogen Gallery, Linköping, Sweden (2004); Gallery 303, New York (2005).\u003C\u002Fp>\n",{"id":50,"slug":52,"name":51,"firstName":90,"lastName":91,"bioHtml":92},"Robert","Kleyn","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Robert Kleyn\u003C\u002Fstrong> (b. Amsterdam) studied mathematics and architecture at UBC and was active in early photo-conceptual, video and projection-based art in Vancouver. His slide works and photographs were often performative as in his 1976 exhibition with Rodney Graham at Pender Street Gallery. In addition to exhibiting in Canada, he had numerous solo and group exhibitions in Italy where he lived from the mid ’70s until 1990, and in New York where he was associated with the interdisciplinary groups Colab Projects and Machine Language. Kleyn has worked in theatre and film, in addition to an ongoing practice in sculpture, installation, and photography. He has taught architecture and has done numerous art-related projects and collaborations with other artists since moving back to Vancouver in 2003. His artworks are in public and private collections.\u003C\u002Fp>\n",{"id":54,"slug":56,"name":55,"firstName":94,"lastName":95,"bioHtml":96},"Patrik","Andersson","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Patrik Andersson\u003C\u002Fstrong> holds a PhD in Art History from the University of British Columbia and teaches art and ideas at Emily Carr University of Art and Design. He has curated historical and contemporary art and design exhibitions since the late 1980s and has published widely in catalogues, journals, books and zines. Since 1997 he has operated Trapp Projects, an independent curatorial and publishing platform. He worked as a studio assistant to Rodney Graham throughout the 1990s and curated \u003Cem>Rodney Graham: Canadian Impressionist\u003C\u002Fem> at Canada House, London in 2017.\u003C\u002Fp>\n",{"id":58,"slug":60,"name":59,"firstName":98,"lastName":99,"bioHtml":100},"Ian","Wallace","\n\u003Cp class=\"wp-block-paragraph\">\u003Cstrong>Ian Wallace\u003C\u002Fstrong> is a Vancouver based artist known for his work at the intersection of painting and photography. Bringing together photographs and monochrome paintings, his work builds on the respective histories of the two mediums in light of the artistic developments of 1960–70s conceptual art practices. Throughout his work, Wallace explores concerns of social and artistic dynamics through themes of the street, the museum and the studio. Also known for his role as a scholar and a teacher, Wallace is a key figure in the development of what came to be called the ‘Vancouver School of Photography’ with artists like Jeff Wall, Stan Douglas, Ken Lum, and Rodney Graham.\u003C\u002Fp>\n",{"title":102,"robots":103,"og_locale":109,"og_type":110,"og_title":102,"og_description":111,"og_url":112,"og_site_name":113,"article_publisher":114,"article_modified_time":115,"og_image":116,"twitter_card":119,"twitter_site":120,"twitter_misc":121,"schema":123},"A Tribute to Rodney Graham - ReIssue",{"index":104,"follow":105,"max-snippet":106,"max-image-preview":107,"max-video-preview":108},"noindex","follow","max-snippet:-1","max-image-preview:large","max-video-preview:-1","en_US","article","Close friends, collaborators, and peers share their memories of artist Rodney Graham (1949–2022).","https:\u002F\u002Freissue.pub\u002Farticles\u002Fa-tribute-to-rodney-graham\u002F","ReIssue","https:\u002F\u002Fwww.facebook.com\u002Freissue.pub\u002F","2024-02-21T02:40:15+00:00",[117],{"width":20,"height":21,"url":18,"type":118},"image\u002Fjpeg","summary_large_image","@reissuepub",{"Est. reading time":122},"16 minutes",{"@context":124,"@graph":125},"https:\u002F\u002Fschema.org",[126,141,143,157,172],{"@type":127,"@id":112,"url":112,"name":102,"isPartOf":128,"primaryImageOfPage":130,"image":132,"thumbnailUrl":18,"datePublished":133,"dateModified":115,"breadcrumb":134,"inLanguage":136,"potentialAction":137},"WebPage",{"@id":129},"https:\u002F\u002Freissue.pub\u002F#website",{"@id":131},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fa-tribute-to-rodney-graham\u002F#primaryimage",{"@id":131},"2024-02-20T16:24:53+00:00",{"@id":135},"https:\u002F\u002Freissue.pub\u002Farticles\u002Fa-tribute-to-rodney-graham\u002F#breadcrumb","en-US",[138],{"@type":139,"target":140},"ReadAction",[112],{"@type":142,"inLanguage":136,"@id":131,"url":18,"contentUrl":18,"width":20,"height":21},"ImageObject",{"@type":144,"@id":135,"itemListElement":145},"BreadcrumbList",[146,151,155],{"@type":147,"position":148,"name":149,"item":150},"ListItem",1,"Home","https:\u002F\u002Freissue.pub\u002F",{"@type":147,"position":152,"name":153,"item":154},2,"Articles","https:\u002F\u002Freissue.pub\u002Farticles\u002F",{"@type":147,"position":156,"name":6},3,{"@type":158,"@id":129,"url":150,"name":113,"description":159,"publisher":160,"potentialAction":162,"inLanguage":136},"WebSite","critical discourse for experimental art practices",{"@id":161},"https:\u002F\u002Freissue.pub\u002F#organization",[163],{"@type":164,"target":165,"query-input":168},"SearchAction",{"@type":166,"urlTemplate":167},"EntryPoint","https:\u002F\u002Freissue.pub\u002F?s={search_term_string}",{"@type":169,"valueRequired":170,"valueName":171},"PropertyValueSpecification",true,"search_term_string",{"@type":173,"@id":161,"name":113,"url":150,"logo":174,"image":178,"sameAs":179},"Organization",{"@type":142,"inLanguage":136,"@id":175,"url":176,"contentUrl":176,"width":20,"height":177,"caption":113},"https:\u002F\u002Freissue.pub\u002F#\u002Fschema\u002Flogo\u002Fimage\u002F","https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2022\u002F06\u002Freissue_logo.jpg",1118,{"@id":175},[114,180,181],"https:\u002F\u002Fx.com\u002Freissuepub","https:\u002F\u002Fwww.instagram.com\u002Freissue.pub\u002F",{"id":183,"slug":184,"title":149,"contentHtml":22,"acf":185,"backgroundBlur":188,"seo":189},48,"home",{"background_image":186,"isBlack":16,"header_text":187},"https:\u002F\u002Fcms.reissue.pub\u002Fwp-content\u002Fuploads\u002F2026\u002F11\u002Fdaisy_reissue_2.jpg","ReIssue: art and criticism in \u003Cbr>\r\nthe cosmos of cultural production","url(\"data:image\u002Fsvg+xml;charset=utf-8,%3Csvg xmlns='http:\u002F\u002Fwww.w3.org\u002F2000\u002Fsvg' viewBox='0 0 320 213'%3E%3Cfilter id='b' color-interpolation-filters='sRGB'%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3CfeColorMatrix values='1 0 0 0 0 0 1 0 0 0 0 0 1 0 0 0 0 0 100 -1' result='s'\u002F%3E%3CfeFlood x='0' y='0' width='100%25' height='100%25'\u002F%3E%3CfeComposite operator='out' in='s'\u002F%3E%3CfeComposite in2='SourceGraphic'\u002F%3E%3CfeGaussianBlur stdDeviation='20'\u002F%3E%3C\u002Ffilter%3E%3Cimage width='100%25' height='100%25' x='0' y='0' preserveAspectRatio='none' style='filter: url(%23b);' href='data:image\u002Fwebp;base64,UklGRoIAAABXRUJQVlA4IHYAAADwBACdASogABUAPu1qqlEppaOiqAqpMB2JZwAAKf0c+TYjyG8vhTeRaShCpli8uAAA\u002FnFf8QBzP1T7FqMQfN+5P0sEZp4TM\u002FtvUeu\u002F6PKH+GHrebLLz8IW4Q6wQ5kHZO6aqggnKrdkv+u62izeOgqi4jMyAAAA'\u002F%3E%3C\u002Fsvg%3E\")",{"title":190,"robots":191,"og_locale":109,"og_type":110,"og_title":190,"og_url":192,"og_site_name":113,"article_publisher":114,"article_modified_time":193,"twitter_card":119,"twitter_site":120,"schema":194},"Home - ReIssue",{"index":104,"follow":105,"max-snippet":106,"max-image-preview":107,"max-video-preview":108},"https:\u002F\u002Freissue.pub\u002Fhome\u002F","2026-11-14T21:58:11+00:00",{"@context":124,"@graph":195},[196,204,208,214],{"@type":127,"@id":192,"url":192,"name":190,"isPartOf":197,"datePublished":198,"dateModified":193,"breadcrumb":199,"inLanguage":136,"potentialAction":201},{"@id":129},"2018-04-21T23:04:08+00:00",{"@id":200},"https:\u002F\u002Freissue.pub\u002Fhome\u002F#breadcrumb",[202],{"@type":139,"target":203},[192],{"@type":144,"@id":200,"itemListElement":205},[206,207],{"@type":147,"position":148,"name":149,"item":150},{"@type":147,"position":152,"name":149},{"@type":158,"@id":129,"url":150,"name":113,"description":159,"publisher":209,"potentialAction":210,"inLanguage":136},{"@id":161},[211],{"@type":164,"target":212,"query-input":213},{"@type":166,"urlTemplate":167},{"@type":169,"valueRequired":170,"valueName":171},{"@type":173,"@id":161,"name":113,"url":150,"logo":215,"image":216,"sameAs":217},{"@type":142,"inLanguage":136,"@id":175,"url":176,"contentUrl":176,"width":20,"height":177,"caption":113},{"@id":175},[114,180,181],{"id":219,"slug":220,"title":221,"contentHtml":222,"acf":16,"backgroundBlur":63,"seo":223},321,"subscription-banner","Subscription Banner","\n\u003Cp class=\"wp-block-paragraph\">ReIssue is unfunded, wild and free. 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