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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Jonathan Monk

b. 1969, United Kingdom

British artist Jonathan Monk replays, recasts and re-examines seminal works of Conceptual and Minimal art by variously witty, ingenious and irreverent means. Speaking in 2009, he said, ‘Appropriation is something I have used or worked with in my art since starting art school in 1987. At this time (and still now) I realised that being original was almost impossible, so I tried using what was already available as source material for my own work.’ Through wall paintings, monochromes, ephemeral sculpture and photography he reflects on the tendency of contemporary art to devour references, simultaneously paying homage to figures such as Sol LeWitt, Ed Ruscha, Bruce Nauman and Lawrence Weiner, while demystifying the creative process. Monk is constantly asking ‘what next?’ His stainless steel series entitled Deflated Sculpture, 2009, refigures Jeff Koon’s iconic balloon rabbit in various stages of collapse; letting the air out isn’t an act of iconoclasm so much as giving the original idea new life. So too Monk documented the period he lived in Los Angeles with a series of photographs titled None of the Buildings on Sunset Strip, 1997–1999, showing only the roads between buildings – a follow-up to Ed Ruscha’s artist book from 30 years before, All of the Buildings on Sunset Strip. But his conceptual configurations are also grounded in the personal: ‘what next?’ takes on a poignancy in the slide projection In Search of Gregory Peck, 1997, where Monk brought together a collection of photographs taken by his late father in the 1950s, preceding him as a tourist in the US.

Jonathan Monk was born in Leicester in 1969 and lives and works in Berlin. He has a BFA from Leicester Polytechnic (1988) and an MFA from Glasgow School of Art (1991). Solo exhibitions include Centro De Arte Contemporáneo (CAC) Málaga, 2013, Kunstraum Dornbirn, Austria, 2013, Palais de Tokyo and Musee d’Art Moderne, Paris, 2008, Kunstverein Hannover, 2006, Institute of Contemporary Art, London, 2005, and Museum Kunst Palast, Dusseldorf, 2003. His work has been included in many group exhibitions, including Whitney Biennial (2006), the 50th and 53rd Venice Biennales (2003, 2009), Berlin Biennale (2001) and Taipei Biennial (2000). He was awarded the Prix du Quartier Des Bains, Geneva in 2012.

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Featured Artworks

Jack of all trades... by Jonathan Monk contemporary artwork Jonathan MonkJack of all trades..., 2017 Coloured neon lettering
90 x 175 x 5 cm
Lisson Gallery
Together Again Alone By Himself As Someone Else by Jonathan Monk contemporary artwork Jonathan MonkTogether Again Alone By Himself As Someone Else, 2014 Epoxy resin, acrylic paint, artificial hair, wood, polyurethane tubes, foam, different fabrics and applications, trainers, glasses
80 x 34 x 13 cm
Lisson Gallery
Fallen Piano Cover by Jonathan Monk contemporary artwork Jonathan MonkFallen Piano Cover, 2014 Patinated glued and carved limewood on shaped plinth
Lisson Gallery
Hand Held Gesture by Jonathan Monk contemporary artwork Jonathan MonkHand Held Gesture, 2017 Patinated bronze cast and iron bar with oak base
69 x 64 x 21 cm
Lisson Gallery
Lenticular LeWitt by Jonathan Monk contemporary artwork Jonathan MonkLenticular LeWitt, 2018 Lenticular prints mounted on 10mm forex
Taro Nasu
Gallery Hours by Jonathan Monk contemporary artwork Jonathan MonkGallery Hours, 2012 neon sign on plexiglas
45 x 12 x 10 cm
Taro Nasu

Recent Exhibitions

Contemporary art exhibition, Jonathan Monk, Lenticular LeWitt at Taro Nasu, Tokyo
Closed
12 April–12 May 2018 Jonathan Monk Lenticular LeWitt Taro Nasu, Tokyo
Contemporary art exhibition, Jonathan Monk, The Reader at Taro Nasu, Tokyo
Closed
23 May–21 June 2014 Jonathan Monk The Reader Taro Nasu, Tokyo

Represented By

In Related Press

Preview: Art Brussels Related Press Preview: Art Brussels Elephant : 19 April 2017

'Art Brussels believes in galleries that support their artists throughout their evolution... We are definitely not interested in showing work in a supermarket-like style.' We speak with Anne Vierstraete, Managing Director of Art Brussels, as the fair nears its thirty-fifth edition.

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Fine line: London’s Lisson Gallery hosts a show of line-inspired artwork Related Press Fine line: London’s Lisson Gallery hosts a show of line-inspired artwork Wallpaper* : 25 January 2016

Artists have, of course, done many marvellous things with the continuous line. They have taken it places, crawling off the page or squiggling into three dimensions, becoming a physical thing of itself, freed of representational duties. Line, a new show at the Lisson Gallery in London, guest curated by Mary Doyle and Kate Macfarlane of the Drawing...

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