Our relationship with British artist, Jonathan Monk (b. 1969) began in 1997 when he was living in Los Angeles for two years, a period that became quite informative for his practice. Fourteen years later, we are extremely pleased to present Monk’s seventh exhibition at Casey Kaplan. YOUR NAME HERE resurrects drawings and photographs from Monk’s time in southern California alongside new sculptural works in neon, marble, fabric and leather, that are interspersed with the second installment of a project that has been three years in the making, the "Rew-Shay Hood Project", 2008-2011.
Monk continually questions identity and authorship, while engaging in a game of intellect and wit between himself, Conceptual artists from the 1960s and 70s, and the viewer. Beginning in early 2008, Monk found inspiration within Ed Ruscha’s 1967 iconic photographic series and limited edition book, Twentysix Gasoline Stations, where Ruscha shot black & white photographs of twenty-six different gas stations found along the legendary Route 66 highway on a road trip from his studio in Los Angeles to his home state of Oklahoma. Utilizing the talents of a commercial, hot rod, airbrush painter located in the Bronx, Monk has selected twenty-six different classic American muscle car automobile hoods to serve as the canvases for each of the original Ruscha gasoline station photographs. In Monk’s Rew-Shay Hood Project IX, Ruscha’s intentionally banal 1962 image of a Texaco station in Jackrabbit, Arizona, is transformed, newly presented onto the hood of a 1970 Datsun 240z as a dynamic, graphic airbrush painting.
Born and raised in Leicester, England and educated in Glasgow, Scotland, Monk’s understanding of art and his initial experiences, specifically of Conceptual Art, were as an outsider, a voyeur learning through images found only in books. Out of these circumstances, Monk has become an avid book collector with a serious collection of limited editions, such as: Ruscha’s 1967 Twentysix Gasoline Stations and Sol LeWitt’s 1980 Sunrise and Sunset at Praiano. Just as Monk dramatizes the intimate experience of two-dimensional images in Ruscha’s book, “Sunrise” and “Sunset” leap off the cover from LeWitt’s book onto the gallery walls in the form of neon signage written in the original Western typeface.
The title of this exhibition, YOUR NAME HERE, is additionally a poetry book by one of America’s most influential writers, John Ashbery. This duality raises the level of uncertainty over the ownership of Monk’s show, which is confounded further by a series of eight new marble headstones that contain the word “YOUR NAME HERE” etched into their surfaces in varying fonts. The stones function as advertisements for how to be memorialized, with an offering of different choices of color, grain, and typeface, while also referencing the mortality of the father-like figures from art history that Monk so regularly quotes.
Jonathan Monk has participated in numerous recent group exhibitions at prominent institutions including: Power to the People: Contemporary conceptualism and the object in art, Australian Centre for Contemporary Art, Melbourne, Australia (2011); Exhibition, Exhibition, curated by Adam Carr, Castello di Rivoli Museum of Contemporary Art Piazza, Turin, Italy (2010); Pictures about Pictures. Discourses in Painting from Albers to Zobernig, MUMOK: Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria (2010); Second Hand, Musee d’Art Moderne de la Ville de Paris, Paris, France (2010); The Traveling Show, curated by Adriano Pedrosa, La Colección Jumex, Mexico City, Mexico (2010); and Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, curated by Christian Rattemeyer, which travelled from the Museum of Modern Art in New York to the IVAM Institut Valencià d'Art Modern in Spain (2010-2011). On May 14th 2009, the first installment of Monk’s "Rew-Shay Hood Project" opened in the Hudson Show Room at Artpace San Antonio, Texas. Past solo museum exhibitions include Time Between Spaces, Palais de Tokyo and Musée d'art Moderne, Paris, France, 2008 and Yesterday, Today, Tomorrow, etc., Kunstverein Hannover, Hannover, Germany; travelled to the Kunstmuseum St. Gallen. St. Gallen, Switzerland; Kunsthalle Nürnberg, Nürnberg, Germany; and Leiterin Haus am Waldsee, Berlin, Germany from 2006 - 2007. The artist lives and works in Berlin, Germany.
Rew-Shay Hood Project IX
2008-2011
Airbrush Paint, 1970 Datsun 240z Hood
58 x 41 x 4” / 147.3 x 104.1 x 10.2cm
Exhibition View
As Yet Untitled V
2010
Marble
27.6 x 19.7 x 2” / 70 x 50 x 5cm
America Held Up Through Los Angeles
2010
Brown leather, pin
46.5 x 23.75” / 118.1 x 60.3cm Installed dimensions variable
Around The World (compact version)
2010
Found image, compact mirror
8.5 x 11” / 21.6 x 27.9cm Plexiglas box: 9.25 x 11.75” / 23.5 x 29.8cm
Sunset
2011
Neon lettering
25.6 x 63” / 65 x 160cm
Exhibition View
Rew-Shay Hood Project II
2008-2011
Airbrush Paint, 1969 Plymouth Barracuda Hood
50 x 60 x 4” / 127 x 152.4 x 10.2cm
As Yet Untitled II
2010
Marble
27.6 x 19.7 x 2” / 70 x 50 x 5cm
Room 11d
1998
Polaroid and mirrored vinyl wall text
Polaroid: 4 x 4” / 10.2 x 10.2cm Framed: 13.2 x 13.2” / 33.5 x 33.5 x 2.5cm Installed dimensions variable
Room 11d
2010
Polaroid and mirrored vinyl wall text
Polaroid: 4 x 4” / 10.2 x 10.2cm Framed: 13.2 x 13.2” / 33.5 x 33.5 x 2.5cm Installed dimensions variable
Rew-Shay Hood Project X
2008 - 2011
Airbrush Paint, 1971 Dodge Demon Hood
57 x 54 x 3.7” / 144.8 x 137.2 x 9.4cm
Rew-Shay Hood Project XI
2008
Airbrush Paint, 1970 Plymouth Duster Hood
51 x 60 x 5” / 129.5 x 152.4 x 12.7cm
As Yet Untitled IV
2010
Marble
27.6 x 19.7 x 2” / 70 x 50 x 5cm
Rew-Shay Hood Project III
2008 - 2011
Airbrush paint, Two 1974 Plymouth Barracuda Hoods
Two hoods, each: 52 x 60 x 3.5” / 132.1 x 152.4 x 8.9cm
Room 11e
1998
Polaroid and mirrored vinyl wall text
Polaroid: 4 x 4” / 10.2 x 10.2cm Framed: 13.2 x 13.2” / 33.5 x 33.5 x 2.5cm
Room 11e
1998
Polaroid and mirrored vinyl wall text
Polaroid: 4 x 4” / 10.2 x 10.2cm Framed: 13.2 x 13.2” / 33.5 x 33.5 x 2.5cm
As Yet Untitled I
2010
Marble
27.6 x 19.7 x 2” / 70 x 50 x 5cm
Rew-Shay Hood Project XIII
2008 - 2011
Airbrush Paint, 1970 Plymouth Road Runner Hood
54 x 53 x 4” / 137.2 x 134.6 x 10.2cm
Sunrise
2011
Neon lettering
25.6 x 78.7” / 65 x 200cm
Exhibition View
(Details) The Effect of Twelve Unknown Los Angeles Artists on Circles
1998
12 sheets ink on graph paper
11 x 8.25” / 27.9 x 21cm each 6 frames: 13.75 x 19.75” / 34.9 x 50.2cm each
Exhibition View
The World in Stars and Stripes
2011
Sewn nylon fabric collage
78.7 x 118.1” / 200 x 300cm
Five Girlfriends (Jenny, Louise, Cindy, Barbara, Sherrie)
1998
Five polaroids
Polaroid: 4 x 4” / 10.2 x 10.2cm each Framed: 13.2 x 13.2” / 33.5 x 33.5 x 2.5cm each Installed dimensions: 13.2 x 78” / 33.5 x 198.1cm
(Detail) Five Girlfriends (Jenny, Louise, Cindy, Barbara, Sherrie)
2010
Five polaroids
Polaroid: 4 x 4” / 10.2 x 10.2cm each Framed: 13.2 x 13.2” / 33.5 x 33.5 x 2.5cm each Installed dimensions: 13.2 x 78” / 33.5 x 198.1cm
America Held Up Through Dallas
2010
Tan leather, pin
27 x 14” / 68.6 x 35.6cm
Rew-Shay Hood Project V
2008 - 2011
Airbrush Paint, 1970 Dodge Challenger Hood
52 x 64 x 3.5” / 132.1 x 162.6 x 8.9cm
Rew-Shay Hood Project XII
2008 - 2011
Airbrush paint, Two 1973 Plymouth Valiant Hoods
Two hoods, each: 53 x 61 x 4” / 134.6 x 154.9 x 10.2cm
America Held Up Through New York
2010
Black leather, pin
32.5 x 17.5” / 82.6 x 44.5cm
The Effect of Modern Art on Circles (SF MOMA),
1997
26 sheets pencil on graph paper
11 x 8.25” / 27.9 x 21cm each Installed dimensions: 25 x 141.5” / 63.5 x 359.4cm
(Detail) The Effect of Modern Art on Circles (SF MOMA),
2010
26 sheets pencil on graph paper
11 x 8.25” / 27.9 x 21cm each Installed dimensions: 25 x 141.5” / 63.5 x 359.4cm
Rew-Shay Hood Project XXV
2008/09
Airbrush paint, Two 1974 Chevrolet Nova Hoods
Two hoods, each: 55 x 51 x 3.5” / 139.7 x 129.5 x 8.9cm