Unmonumental art isn’t market-friendly fare, delivered fresh from the fabricators, dewy with high-production values. It doesn’t include slick, Hollywood standard video art a la Matthew Barney or paintings daubed with the painstaking techniques of an old master, such as John Currin’s. As evidenced by the sculptures, collages and Internet art gathered under this banner by curators Richard Flood, Massimiliano Gioni and Laura Hoptman, for New York’s New Museum’s inaugural show in its new HQ in 2008, unmonumental embraces the jerry-rigged, ramshackle, accumulative, eroding and chancy.
This includes assemblage sculpture that goes fishing in capitalism’s rubbish heap, like Rachel Harrison’s suggestive constellations of second hand kitsch, lumpy, handmade offerings and photography, Matthew Monahan’s ancient-looking heads made from fragile paper or florist’s foam or one of Isa Genzken’s pedestals topped with building site detritus. Any number of clashing references, images and objects might be found jostling together in a singlework. At the same time, there’s a sense that everything might fall apart or dissolve at any moment, literally so with Urs Fischer’s lifesize waxwork candle, melting away as its wick burns down.
Needless to say, unmonumental art mines 21st century uncertainties, where as Flood notes, ‘reality is a collage composed of whatever grabs our attention’. Its concerns include material culture’s dizzying cycle of disposable product and a state of mind fragmented and overloaded by technology and a marketplace which makes everything available all at once, even as the threat of it all being turned to dust by war or global warming looms large.
To further fine tune your art vocabulary take a look at the other entries in our Phaidon guide to art speak series. And if you're interested in going a bit further, Unmonumental is a groundbreaking thematic survey of sculptural work by 30 of today’s leading artists that includes essays by Richard Flood, Laura Hoptman, Massimiliano Gioni and Trevor Smith.
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