Happenstance: Ryan Gander

By Coles, Alex | Art Monthly, November 2011 | Go to article overview

Happenstance: Ryan Gander


Coles, Alex, Art Monthly


[ILLUSTRATION OMITTED]

Alex Coles: I'm particularly interested in your collaborative works with designers--they seem to expand the already broad discursive territory that you move around in. But I find it curious that, given your general interest in triggering discourse on your work and producing work as discourse with the ongoing series of i'Loose Association Lectures', you don't have a discourse worker on the payroll in your studio.

Ryan Gander: What's a discourse worker? A clever bod?

Kind of ...

What would they do in my studio? Blog about me?

Perhaps, but they could also read books that you don't have time to read and generate seminars and conierences about your work--generally accumulating discourse on it.

Would you have to pay them more because they're clever?

I'm not too sure, but I can try and find out for you. One thing a discourse worker would do is ensure that interesting essays and interviews were strategically commissioned for books and catalogues about your work. I noticed that the book you did with the graphic design collective Abdke, Ryan Gander: Catalogue Raisonnable, Vol. 1, 2010, doesn't have any new texts in it at all. Your discourse worker could have plugged that hole for you,. But I guess that the book doesn't need any new essays: it is already textually dense because of the way Abdke designs. In fact, it is really unusual for an artist to have such an open attitude towards collaborating with graphic designers.

Do you think?

Definitely. Most artists probably wouldn't view it as a collaborative process at all--or at least not to the extent that you do.

I studied interactive art at Manchester Metropolitan University so there were playwrights, ballet dancers, computer animators, furniture designers as well as graphic designers on the course. They were just people I would talk with.

[ILLUSTRATION OMITTED]

Maki Suzuki from Abake walked me through the design process of your book a little in preparation for this interview, explaining how at the beginning of the research for the book you personally selected the pieces you did and didn't want to include, and how as a result this made Maki want to include everything you had ever done in the book. But not everything is in there. There is an erratum that lists the pieces that have been taken out--mainly for political reasons.

Like what?

You know--when you've made something and then you make another one but give it a different name. Anything that could make me look like a trustafarian trying to generate cash was taken out. Works that I remade afterwards but didn't want to delete from history were also taken out and works that I generally felt were rubbish. Basically, everything is in the book, but not everything is glorified.

Were Abake the first graphic designers you collaborated with?

No, that was Stuart Bailey of Dexter Sinister and The Lending Library.

So it was always important for you to be in dialogue with graphic designers?

Yeah. And when I was in Amsterdam for three years, Stuart lived down the road. We were like the expats and would have dinner together every night.

What year is this?

1999 to 2001. Stuart was teaching and starting up Dot Dot Dot and I was at the Rijksakademie.

When was your first collaboration?

We worked on the book Appendix for two years before it was published in 2003. There are probably 150 pages in it but it felt like we generated something like 500-odd. In 2007 we did a sequel Appendix, Appendix and laid it out at Marc Fox gallery in Los Angeles while I was having a show there.

Sofior you a graphic designer was always another form of ipractitioner? Yes. I've designed a few books myself but I don't feel so comfortable in this role. That 'jack of all trades master of none' thing always worries me. I prefer someone else to do it. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Happenstance: Ryan Gander
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Author Advanced search

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.