Meeting #100 is one in a series of text works by Jonathan Monk. In this series, the artist attempts to organize meetings somewhere in the world. The audience is given the details of a meeting—the place, date and time—and nothing more. Meeting #100 specifies a meeting at “The Clock Tower, Leicester, England, May 7th 2024, Noon”. While the work indicates a very specific appointment in the future, the reason or goal of the meeting is intentionally unclear. This basic principle and structure always remains the same throughout the series. The invitation to meet is potentially open to an audience of thousands, which is theoretically more likely to result in a rally or demonstration rather than a brief encounter. The reception of the work changes at the very moment of the meeting, when anticipation gives way to memory and nostalgia.
Jonathan Monk re-fashions and re-examines seminal works of Conceptual and Minimal art through witty, ingenious, and irreverent means. Through wall paintings, monochromes, ephemeral sculpture, and photography, Monk reflects on the tendency of contemporary art to canabilize references, while paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Lawrence Weiner. Monk’s art practice does not follow any specific style; it doesn’t contain any common characteristic to identify his work at first glance. The amount and variety of his works poses questions about what supports them. Demystifying the creative process, Monk often employs appropriation, humor, irony, and anecdote in his work. To enter an exhibition of works by Jonathan Monk is like taking part in a treasure hunt, made up of digressions and space-time manipulations.
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Wagon Wheel is a work with a fundamental dynamism that derives both from the rotating movement of the elements suspended on poles and the kicking of the legs of the figure...
The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
Foreigners Everywhere is a series of neon signs in several different languages...
In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Anthony Discenza Meets Mungo Thomson Meets Harrell Fletcher Meets Alicia McCarthy Meets Eleanor Antin Meets Jason Meadows Meets Rodney Graham Meets Pascal Shirley Meets Ari Marcopoulos Meets Paul McCarthy Meets James Welling Meets Catherine Opie Meets Tammy Rae Carland Meets Ed Ruscha curated by David Kasprzak...
In Anthony Discenza’s 23-minute audio loop that makes up A Rising Tide Lifts All Boats , a nondescript male voice narrates a series of unlikely pairings: “think Dune meets South Pacific;” “think dubstep meets the Magna Carta;” “think the Food Network meets Igmar Bergman.” Given without inflection or emotion, this recitation uses the structure of a Hollywood elevator pitch to sketch out an unknown project, idea, or structure, conflating and collapsing cultural referents into an implausible mass of contradictions....
Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015)...
Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015)...