Picture Perfect (Monoprint #2), 2010 - Matt Keegan
About the Work
About Picture Perfect (Monoprint #2)
In his Workspace residency with Dieu DonneÌ, Matt Keegan used stenciling techniques and various pulp manipulation processes to interpret his conceptual plays of words and patterns. The artist created hand-cut stencils focusing on a single word set and utilized them ...Read More
In his Workspace residency with Dieu DonneÌ, Matt Keegan used stenciling techniques and various pulp manipulation processes to interpret his conceptual plays of words and patterns. The artist created hand-cut stencils focusing on a single word set and utilized them in conjunction with wet-collage techniques to create a series of unique compositions. During his residency the artist produced two series of monoprints: Work From Home and Picture Perfect. Keegan, accustomed to working with familiar phrases, uses a simple system to edit down options of phrases to work with by choosing text that has a symmetry—the same number of letters in each phrase. In the case of Work From Home, the phrase was chosen when the artist came upon it in a subway ad for home employment reading "Trabaje Desde Casa."
Courtesy of Dieu DonneÌ
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Courtesy of Dieu DonneÌ
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About the Artist
About Matt Keegan
Matt Keegan is a conceptual artist known for his enigmatic combinations of design, photography, text, printmaking, and sculpture. Using stenciling and printmaking techniques, Keegan isolates ...Read More
Matt Keegan is a conceptual artist known for his enigmatic combinations of design, photography, text, printmaking, and sculpture. Using stenciling and printmaking techniques, Keegan isolates idiomatic phrases—for instance, "it goes without saying" or "picture perfect"—and transforms them into art objects, calling attention to the materiality of language and its open-ended possibilities. An ardent archivist and amateur social historian, Keegan is fascinated by the dynamics of social spaces, especially cities.
In a 2011 exhibition of his work, titled I Apple NY, a magpie aggregation of snapshots, interviews, video, and found objects coalesced to form a composite "portrait" of New York City. For the show, Keegan riffed on Milton Glaser's iconic I♥NY logo, replacing the original heart with a big red apple. "I…like how it confuses the legibility," he says of the project: "What does it mean to apple something?" Likewise, for his book AMERICAMERICA (2008), Keegan traveled on a cross-country road trip inspired by "Hands Across America," a 1986 national fundraiser combatting homelessness. The book included ephemera from the original 1986 event and documentation of Keegan's recreation, as well as other materials related to the cultural, political, and artistic climate of the 1980s, drawing connections between the past and present. As the artist notes, the goal was not to create a definitive argument, but to pose the question "How did we get here?"
In addition to solo shows at several galleries, Keegan's work has been exhibited in notable group exhibitions internationally, including Short Stories at SculptureCenter (2011), The Anxiety of Photography at the Aspen Art Museum (2011), Haunted: Contemporary Photography/Video/Performance at the Guggenheim Museum Bilbao (2010), and The Generational: Younger than Jesus at the New Museum (2009).
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In a 2011 exhibition of his work, titled I Apple NY, a magpie aggregation of snapshots, interviews, video, and found objects coalesced to form a composite "portrait" of New York City. For the show, Keegan riffed on Milton Glaser's iconic I♥NY logo, replacing the original heart with a big red apple. "I…like how it confuses the legibility," he says of the project: "What does it mean to apple something?" Likewise, for his book AMERICAMERICA (2008), Keegan traveled on a cross-country road trip inspired by "Hands Across America," a 1986 national fundraiser combatting homelessness. The book included ephemera from the original 1986 event and documentation of Keegan's recreation, as well as other materials related to the cultural, political, and artistic climate of the 1980s, drawing connections between the past and present. As the artist notes, the goal was not to create a definitive argument, but to pose the question "How did we get here?"
In addition to solo shows at several galleries, Keegan's work has been exhibited in notable group exhibitions internationally, including Short Stories at SculptureCenter (2011), The Anxiety of Photography at the Aspen Art Museum (2011), Haunted: Contemporary Photography/Video/Performance at the Guggenheim Museum Bilbao (2010), and The Generational: Younger than Jesus at the New Museum (2009).
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Description
Stenciled linen pulp on cotton base sheet.Shipping
Ships in 10-14 business days.This work is final sale and not eligible for return.
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