Installation Views

This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.This is an installation view of the exhibition by artist Matthew Monahan in 2014 at Anton Kern Gallery, New York.
View More ImagesView Less Images

Works

This is a work titled Twins by artist Matthew Monahan made in 2015. The materials are Patinated bronze sheet and fire bricks, and the dimensions are 58.25 inches by 22.75 inches by 22.75 inches.This is a work titled The Canyon by artist Matthew Monahan made in 2014. The materials are Epoxy resin, floral foam, linen and stainless steel, and the dimensions are 78.5 inches by 25 inches by 14 inches.This is a work titled Bright Lament by artist Matthew Monahan made in 2014. The materials are Plaster, oil, gold leaf, FRP, acrylic and rebar, and the dimensions are 81 inches by 37 inches by 35 inches.This is a work titled Column I by artist Matthew Monahan made in 2014. The materials are Patinated bronze, stainless steel, plate steel and brick, and the dimensions are 77.5 inches by 18 inches by 18 inches.This is a work titled Untitled by artist Matthew Monahan made in 2014. The materials are charcoal on paper, and the dimensions are 44.5 inches by 32.625 inches.This is a work titled Odessa by artist Matthew Monahan made in 1995 to 2014. The materials are Epoxy resin fiberglass, photocopy toner, aluminum leaf and aluminum, and the dimensions are 73.75 inches by 31 inches by 21 inches.This is a work titled St. Barricade by artist Matthew Monahan made in 2014. The materials are Epoxy resin fiberglass, palladium, aluminum and gold leaf, acrylic, stainless steel and refractory brick, and the dimensions are 78.5 inches by 27 inches by 18 inches.This is a work titled The Contender by artist Matthew Monahan made in 2014. The materials are Concrete, oil, gold leaf, photocopy toner, urethane, epoxy resin fiberglass, spray-paint, polyurethane foam and brick, and the dimensions are 62.5 inches by 14.5 inches by 12 inches.This is a work titled Last Leg Island by artist Matthew Monahan made in 2014. The materials are Epoxy resin, floral foam, linen and stainless steel, and the dimensions are 57 inches by 185 inches by 25 inches.This is a work titled Bora and Yugo by artist Matthew Monahan made in 2014. The materials are Patinated bronze, gold leaf and stainless steel, and the dimensions are 77.5 inches by 30 inches by 23 inches.This is a work titled First Aid by artist Matthew Monahan made in 2014. The materials are Plaster, oil, gold and silver leaf, epoxy resin fiberglass, acrylic, linen and stainless steel, and the dimensions are 42 inches by 32 inches by 17 inches.This is a work titled Bedside Manner by artist Matthew Monahan made in 2014. The materials are Photocopy toner, polyurethane, acrylic, epoxy resin, refractory bricks and aluminum, and the dimensions are 42 inches by 21 inches by 18 inches.

Press Release

Matthew Monahan
May 2 –
June 21, 2014

Los Angeles-based artist Matthew Monahan’s sixth solo show at Anton Kern Gallery presents sixteen sculptures, a set of drawings, two wall-mounted masks, and a single large figure in the back room. Monahan molds his materials, which include aluminum, paper, bronze, plaster, steel, metal leaf, and fibre-reinforced plastic (FRP), in such a way that the viewer can never be sure of its true identity. The artist’s deliberate allusions to proto-scientific, or alchemist handling of materials, the mixing of high and low, goes hand in hand with an overwhelming sense of fragmentation that characterizes the works in this exhibition.

 

The figures, drawn or sculpted, are made up of fragmented limbs, heads and other body parts. Pieces are seemingly broken off, detached and re-assembled, incomplete, with an odd piece here and a scrap there. A sense of disintegration, collapse, or breakdown prevails, only gently allowing in a sense of re-assembled beauty. A single figure articulates an array of disparate elements; a bronze head supported by a plastic chest, inside of which a photocopied image transforms into a three-dimensional sash that extends around the waist and folds to become its own base. Sometimes, a figure’s skin seems fleshy, and at other times cold like a metallic shield. Steel frames function simultaneously as cages and as supports, with the sculptures weaving in and out.

 

Monahan’s deliberate use of fragmentation is reminiscent of Samuel Taylor Coleridge’s unfinished (but published as a fragment in 1816) poem "Kubla Khan; or, A Vision in a Dream: A Fragment". Coleridge claimed that inspiration for the poem came to him during an opium-induced dream. As the sight of waves and the ocean, of curtains and drapery, can trigger larger visions of fantastic empires, Monahan’s hallucinatory folds become further extensions of a sculptor’s vocabulary of actions and their resulting geometries; along with the fold comes the crumple, the wrinkle, the shattered piece, the disorderly polygon. Monahan pushes the fold to a breaking point, quite literally, suspending a moment of spontaneous violence in high-tech materials and processes that spark a wealth of associations.

 

Monahan uses fragmentation as a technique to break up the narrative. It signifies the breaking rather than building up of information, to form a structure that would convey a hidden message rather than the obvious one. The accompanying catalog can be a tool in identifying processes and details of all works, thereby adding a level of critical self-reflection to the exhibition.

Read MoreRead Less
PDF

Press

Publications