Diameter: 56.5cm
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. Jonathan Monk bridges a conceptual art and his family privacy, and ironically ensures that there is “no difference between Sol Lewitt and my mother, he does not know more than she do not know. ” What is the status of the O-backed chair rail to the white cube? Monk gives us some clues. The O is an initial, the letter contains the first letter of Owen. The O is also a sign, the letter contains the restaurant sign Owen. The O of Untitled (rolled up) is thought of as an encrypted letter. The work, while it appears as a joke (?), plays upon everything. Monk questions the meaning of a work through non-conventional logic.
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 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...
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
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...
White Minority , is typical of Capistran’s sampling of high art genres and living subcultures in which the artist subsumes an object’s high art pedigree within a vernacular art form...
Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations...
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...