Mathew Jones: Acceptable in the '90s
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Author: Mathew Jones
“I kept everything! I mean everything,” said Mathew Jones, describing the indiscriminate archiving that prompted this book. Items from his trove of meticulously kept drawings, plans, correspondence, press clippings, diary notations, and photographs are reproduced throughout the pages of this publication, the first to survey the Australian artist’s work. They document a dozen art projects that Jones exhibited throughout Australia and internationally during the 1990s alongside introductory essays and the critical writing (essays, reviews, catalogue texts, interviews, artist statements) the works occasioned.The selection of projects in this book highlight the intense sexual politics of that decade, focusing—as Jones’s work has—on changing conceptions of gay and queer identity across both gallery and public art contexts. Whether he is end-gaming the ’90s trope of versioning Robert Indiana’s LOVE artworks in a concerted critique of genealogy, pushing legality in the almost too-hot-to-exhibit Call Now*, preemptively blowing up queer art—POOF!—before anyone else can, or encoding gay sex into the abstract yet hands-on speculation A Place I’ve Never Seen, Jones’s project has been nothing if not invested. Beyond its significance for LGBTQIA+ readers, it invites reflection on the reception and meaning of works of art over time: the longer conversation that artworks participate in.Edited by Melissa Ratliff and Mathew Jones, with contributions by the editors and archival texts by authors including Vince Aletti, Juan Davila, Juliana Engberg, Paul Foss, Stuart Koop, Kate MacNeill, Anne Marsh, Marcus O’Donnell, Leigh Raymond, Robert Schubert, and Stephen Zagala, among many others.
ISBN 9781763537231. Discipline. pb. 23cm x 16cm.
not yet published
“I kept everything! I mean everything,” said Mathew Jones, describing the indiscriminate archiving that prompted this book. Items from his trove of meticulously kept drawings, plans, correspondence, press clippings, diary notations, and photographs are reproduced throughout the pages of this publication, the first to survey the Australian artist’s work. They document a dozen art projects that Jones exhibited throughout Australia and internationally during the 1990s alongside introductory essays and the critical writing (essays, reviews, catalogue texts, interviews, artist statements) the works occasioned.The selection of projects in this book highlight the intense sexual politics of that decade, focusing—as Jones’s work has—on changing conceptions of gay and queer identity across both gallery and public art contexts. Whether he is end-gaming the ’90s trope of versioning Robert Indiana’s LOVE artworks in a concerted critique of genealogy, pushing legality in the almost too-hot-to-exhibit Call Now*, preemptively blowing up queer art—POOF!—before anyone else can, or encoding gay sex into the abstract yet hands-on speculation A Place I’ve Never Seen, Jones’s project has been nothing if not invested. Beyond its significance for LGBTQIA+ readers, it invites reflection on the reception and meaning of works of art over time: the longer conversation that artworks participate in.Edited by Melissa Ratliff and Mathew Jones, with contributions by the editors and archival texts by authors including Vince Aletti, Juan Davila, Juliana Engberg, Paul Foss, Stuart Koop, Kate MacNeill, Anne Marsh, Marcus O’Donnell, Leigh Raymond, Robert Schubert, and Stephen Zagala, among many others.
ISBN 9781763537231. Discipline. pb. 23cm x 16cm.
not yet published