Artpace San Antonio presents Rew-Shay Hood Project Part II, on view through September 6, 2009, in the Hudson (Show)Room. Curated by Artpace Executive Director Matthew Drutt, the exhibition debuts a new body of work by Berlin-based artist Jonathan Monk. Fittingly located in the space named for Artpace's former function as a Hudson automobile dealership, the exhibition features a series of paintings after American artist Ed Ruscha's iconic photographic series and book, Twentysix Gasoline Stations.
In Rew-Shay Hood Project Part II fourteen distinctive hoods of classic American cars—from a 1963 Plymouth Fury to a 1982 Chevrolet Camaro—serve as canvases for the photo-realistic airbrushed paintings. "Re-presented" on car hoods, Ruscha's deliberately sober early 1960s photographs of service stations located in Texas and Oklahoma are transformed and monumentalized, provoking reconsideration of the narrative of conceptual and pop art.
In previous projects, Monk has referenced other canonical modern and contemporary artists, such as Sol LeWitt, Lawrence Weiner, and most recently, Jeff Koons. He is at the forefront of a generation of artists who have appropriated American conceptual art of the 1960s and 1970s to create contemporary projects that deal with reception and re-presentation. Monk's works inhabit a diverse range of media, from photography and sculpture to film and installation, where the artist, the creative process, and art's dictum of originality collide.
ABOUT THE ARTIST
Since graduating from the Glasgow School of Art, Scotland, in 1991, Jonathan Monk has amassed an impressive roster of exhibitions and publications. His most recent solo exhibitions include Time Between Spaces, Palais de Tokyo, Paris, France and Musée d'Art Moderne de la Ville de Paris (2008); Twodo-Project 2007, Neuer Aachener Kunstverein, Germany (2007); and Some Kind of Game Between This and That, Casey Kaplan, New York (2007). Monk's work has been featured in numerous group exhibitions including, most recently, Time Pieces, Galerie Jan Mot, Brussels, Belgium (2008); Looking Back, Mireille Mosler Ltd., New York (2008); and The Store, Tulips & Roses, Vilnius, Lithuania (2008).
In Rew-Shay Hood Project Part II fourteen distinctive hoods of classic American cars—from a 1963 Plymouth Fury to a 1982 Chevrolet Camaro—serve as canvases for the photo-realistic airbrushed paintings. "Re-presented" on car hoods, Ruscha's deliberately sober early 1960s photographs of service stations located in Texas and Oklahoma are transformed and monumentalized, provoking reconsideration of the narrative of conceptual and pop art.
In previous projects, Monk has referenced other canonical modern and contemporary artists, such as Sol LeWitt, Lawrence Weiner, and most recently, Jeff Koons. He is at the forefront of a generation of artists who have appropriated American conceptual art of the 1960s and 1970s to create contemporary projects that deal with reception and re-presentation. Monk's works inhabit a diverse range of media, from photography and sculpture to film and installation, where the artist, the creative process, and art's dictum of originality collide.
ABOUT THE ARTIST
Since graduating from the Glasgow School of Art, Scotland, in 1991, Jonathan Monk has amassed an impressive roster of exhibitions and publications. His most recent solo exhibitions include Time Between Spaces, Palais de Tokyo, Paris, France and Musée d'Art Moderne de la Ville de Paris (2008); Twodo-Project 2007, Neuer Aachener Kunstverein, Germany (2007); and Some Kind of Game Between This and That, Casey Kaplan, New York (2007). Monk's work has been featured in numerous group exhibitions including, most recently, Time Pieces, Galerie Jan Mot, Brussels, Belgium (2008); Looking Back, Mireille Mosler Ltd., New York (2008); and The Store, Tulips & Roses, Vilnius, Lithuania (2008).
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