Jonathan Monk: I went to school with someone called Jonathon Monk.
Casey Kaplan is pleased to announce I went to school with someone called Jonathon Monk, an exhibition by Jonathan Monk (b. 1969, Leicester, UK). Monk’s work is a continuing engagement with notions of authorship and identity, as he recasts iconic works of art with a consistent and incisive humor. In this exhibition, Monk’s own biography becomes a material as objects assume not only their former contexts, but also their relationship to Monk’s own life as an artist. Through this, works themselves become open to misremembrance and approximation. Sited in the gallery’s entrance, A Copy Of Deflated Sculpture No. 1, a facsimile of Monk’s subtly deflated copy of Jeff Koon’s iconic inflatable bunny,will occupy the same site as the original, exhibited in his 2009 exhibition with the gallery, The Inflated Deflated. Created from photographic documentation, rather than the original’s specifications, the work not only points towards the shifting relationships of the work to Monk himself, but the role these images play in larger structures of commerce and circulation.
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Casey Kaplan is pleased to announce I went to school with someone called Jonathon Monk, an exhibition by Jonathan Monk (b. 1969, Leicester, UK). Monk’s work is a continuing engagement with notions of authorship and identity, as he recasts iconic works of art with a consistent and incisive humor. In this exhibition, Monk’s own biography becomes a material as objects assume not only their former contexts, but also their relationship to Monk’s own life as an artist. Through this, works themselves become open to misremembrance and approximation. Sited in the gallery’s entrance, A Copy Of Deflated Sculpture No. 1, a facsimile of Monk’s subtly deflated copy of Jeff Koon’s iconic inflatable bunny,will occupy the same site as the original, exhibited in his 2009 exhibition with the gallery, The Inflated Deflated. Created from photographic documentation, rather than the original’s specifications, the work not only points towards the shifting relationships of the work to Monk himself, but the role these images play in larger structures of commerce and circulation.