Sculpting absurdity

The 303 Gallery in New York is hosting a solo exhibition titled Rodney Graham, dedicated to the late Canadian conceptual artist Rodney Graham, on view until October 24th, 2024. This show is the first to showcase Graham’s work since his passing, bringing together key pieces from the last 25 years of his career. Known for his involvement with the Vancouver School, Graham’s works explore themes of absurdity and self-representation, utilizing photography, film, painting, and sculpture to create elaborate fictional narratives.

One highlight of the exhibition is Graham’s 1997 film Vexation Island, which features the artist dressed as an 18th-century castaway, trapped in a humorous, repetitive cycle of consciousness and unconsciousness. The film’s vibrant Cinemascope imagery contrasts with its lack of plot, emphasizing the absurdity of the character’s futile actions. Another notable piece is Media Studies ’77 (2016), a photographic lightbox where Graham portrays a professor giving a lecture, though the empty blackboard and projector suggest a lecture on nothing in particular, adding a layer of irony.

In addition to his films and photographs, the exhibition also presents Graham’s sculptural works, including the Pipe Cleaner Artist Studio Constructions (2014-2015), inspired by a fictional artist persona he created. These sculptures, made of layered materials and coated in white acrylic, reflect Graham’s fascination with Cubist forms and the boundary between art and performance. The show also features a series of abstract oil and sand paintings, rooted in Graham’s exploration of Russian Constructivist aesthetics, which became some of his final works. The exhibition offers a rich exploration of Graham’s multifaceted practice, highlighting his playful approach to identity, art history, and the absurd.