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Open a larger version of the following image in a popup: Jonathan Monk, Keep Still (Bruce Nauman, Untitled 69), 2002
Open a larger version of the following image in a popup: Jonathan Monk, Keep Still (Bruce Nauman, Untitled 69), 2002
Open a larger version of the following image in a popup: Jonathan Monk, Keep Still (Bruce Nauman, Untitled 69), 2002

Jonathan Monk

Keep Still (Bruce Nauman, Untitled 69), 2002
B/W vintage photograph with Letraset text
4⅛ x 5¾ inches (10.5 x 14.5 cm.)
Signed verso "Jonathan Monk"
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Further images

  • (View a larger image of thumbnail 1 ) Jonathan Monk, Keep Still (Bruce Nauman, Untitled 69), 2002
  • (View a larger image of thumbnail 2 ) Jonathan Monk, Keep Still (Bruce Nauman, Untitled 69), 2002
  • (View a larger image of thumbnail 3 ) Jonathan Monk, Keep Still (Bruce Nauman, Untitled 69), 2002
Born in Leicester, England, in 1969 and now based in Berlin, Jonathan Monk works across a wide range of media, including installation, photography, film, sculpture, and performance. His flippant practice...
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Born in Leicester, England, in 1969 and now based in Berlin, Jonathan Monk works across a wide range of media, including installation, photography, film, sculpture, and performance. His flippant practice often echoes the procedural strategies of 1960s Conceptualism, yet eschews its utopian ambitions and notions of artistic genius. Instead, Monk anchors his conceptual approach in the everyday, drawing on personal history, family life, and even pets, while still alluding to the systems and processes rigorously employed by artists such as Sol LeWitt.


In the Keep Still series, Monk reappropriates found photographs by placing a single letter on each figure’s head, together spelling the title of a conceptual artwork. This work likely references Bruce Nauman's Untitled from 1969: a 2-color offset lithograph published by Leo Castelli Gallery. Executed in Warhol-like vibrant colors, the poster depicts six repetitions of the artist holding up a clear sheet.


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Provenance

Galleri Nicolai Wallner, Copenhagen, 2002
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