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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 (1997–99), 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.
Monk is known for “appropriating” and remaking works by the great masters of Arte Povera and Conceptual Art (like Sol LeWitt, Ed Ruscha, Bruce Nauman) and he found an ideal interlocutor in Salvo who shares with him the interest in the boundary between original and copy. In the works dedicated to Salvo, Monk collects images of Salvo’s landscapes paintings from the Internet, prints them on pages torn from magazines and paints over the background with gouache saving only the trees that belong to the original composition; in this way the trees appear to float within an abstract field.
Monk doesn’t just copy, he remakes Salvo’s works; he employs the same visual alphabet but infuses them with his own conceptual sensibility. During the 1970s and 80s, Salvo was considered almost a traitor to Arte Povera because he had returned to figurative painting. Monk, hailing from the rigorous British school of Conceptualism, uses Salvo to demonstrate that even painting a tree or a sunset can be a deeply intellectual act as long as it’s done through the filter of memory and art history.