Jonathan Monk

LeWitt Covering Tit

Jonathan Monk, Alternate Projects

Jonathan Monk
LeWitt Covering Tit, 2020
UNIQUE. Watercolor and pencil on laser print. SIGNED, titled and dated on backside.
8 1/2h x 11w in
Framed: 9 1/2 x 12 inches framed


Through variously witty, ingenious and irreverent means contemporary British artist Jonathan Monk replays, recasts and re-examines seminal works and ideas from modern, conceptual, and minimalist art predecessors (in the instance of this work, Sol LeWitt and Tom Wesselmann). 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 realized that being original was almost impossible, so I tried using what was already available as source material for my own work.“ 

Tom Wesselmann (1931-2004) was an American Pop artist most known for his collages, sculptures, and screen prints that stylized the female figure

“The women in Wesselman’s paintings do not “deceive” to give men the illusion of power but rather put on a performance of sexuality, in which both partners can partake. Bedroom Tit Box (1968-70) is a similar staging: During designated gallery hours; the viewer is invited to stare into a small box embedded into the wall. The mise-en-scene inside consists of small objects made of oil, acrylic, and assemblage. There’s an orange, an ashtray with a half-smoked cigarette, a vase filled with plush, pink roses, and a baby-blue perfume bottle. Iconography aside, the objects become props for the strangest of performances, in which a hatch opens from the top only for a human breast to slowly lower into it. The woman’s cleavage, quite literally cut from the woman’s body, becomes a formal object to be considered for its shape and color, and as a constituent to the composition of the box. The form is supple and curved, an inverted triangle with one facet slightly swollen; the nipple, a peachy apex. Against a cardboard cutout, painted white and cut into the shape of a wave, the box fills with subtle motion; the simple shapes and balmy colors of the objects mirror the femininity of the breast. Finding its rose-colored glasses, the “male gaze” is filtered with admiration—and, arguably, for those not titillated (pun intended) by the female sex, astonishment. Seduction aside, the breast eclipses the objects with an awkward wit, the lissome nipple a digression from the severity of the white cube that encompasses the diorama. Blushed with the intimacy of a slow striptease, Wesselmann’s box is a reenactment of what happens behind closed doors, when lust becomes an exalting study of each inch of another body.”            __________Sabrina Tarasoff, Reviews:Tom Wesselmann at Almine Rech, Paris, Mousse Magazine

Sol LeWitt (1928– 2007) is regarded as a founder of both Minimal and Conceptual art. Though LeWitt’s notoriety began in the late 1960s with his wall drawings and "structures" (a term he preferred instead of "sculptures”), he was prolific in a wide range of media including drawing, printmaking, photography, painting, installation, and artist's books. Highly regarded in his time, LeWitt transformed the process of art-making by questioning the basic relationship between an idea, the subjectivity of the artist, and the artwork a given idea might produce. His art is not about the singular hand of the artist but is instead about the idea behind each work which even surpasses the work itself. LeWitt's use of the square, for instance, was driven by the idea that it is the 'least emotive' of forms, highlighting the importance of the idea over the artist's hand or 'mark'.

$ 2,000 (framed under UV Plexi + 100% rag mat board)