(Australia 1961 – )
40.7 x 29.6 cm (leaf, approximate); 41.3 x 30.7 x 1.7 cm closed book; 41.3 x 61.3 x 1.7 cm open book
Mathew Jones' conceptual art practice invariably incorporates drawing, sculpture and installation and in more recent years print and online media. He came to prominence in Australia during the 1990s with a series of politically rigorous works that addressed identity politics, gay rights and representation.
'The New York Daily News on the day before the Stonewall Riot copied by hand from microfilm records' 1996 highlights many of Jones' concerns and embodies his disciplined, even obsessive, working methods. Produced over a period of ten intensive months, Jones traced the complete edition of the 'The New York Daily News' June 27, 1969 from microfilm, as the original was not available. The date of the newspaper was significant for the artist as it reported the funeral of Judy Garland and was the day that marked the beginning of the Stonewall Riots, considered the birth of gay rights activism in America.
This work has taken on different forms. In 2002 Jones printed hundreds of copies of the original drawings to create a reassembled version of the original newspaper, placed in stacks for an exhibition at the Museum of Contemporary Art, Sydney. He has also distributed photocopied versions around the streets of Manhattan. Through these actions Jones' practice becomes a type of public performance. In fact it is in the intersection between private and public, between the intimate, prolonged act of drawing and its subsequent public dissemination, which Jones' work resonates. His practice constantly reworks this almost contradictory methodology.
'The New York Daily News' eloquently demonstrates fundamental aspects of Jones' conceptual strategy, his ability to bridge the threshold, and maintain the tension, between private and public concerns.
Vince Aletti, The village voice, 'Mathew Jones', pg. 81, New York, 25 Feb 1997, 81 (illus.).
Chris Bond, The big issue, 'New York Daily Times', pg. 33, 29 May 1997, 33.
Mark Currah, Time out, ''Asylum' Milch (upcoming)', pg. 42, London, 09 Jun 1999, 42.
Anna Davis (Editor), MCA collection: new acquisitions in context, Sydney South, 2010.
Max Delany, Strolling: the art of arcades, boulevards, barricades, publicity, Victoria, 1998, 17 (colour illus.), 29, 30.
Peter Hill, The Sydney Morning Herald, 'Double vision', pg. 26, Sydney, 25 Oct 2002, 26.
DJ Huppatz, Like, art magazine, 'Review', pg. 48-49, Melbourne, 1997, 48, 49.
David Langsam, The republican, 'Day that changed America and the world', pg. 18, 12 Jun 1997, 18.
Kyla McFarlane (Editor), Change, Melbourne, 2010, 11 (colour illus.). NOTE: not AGNSW edition.
Jacqueline Millner, Broadsheet, 'Mathew Jones+Simon Starling', pg. 27, Adelaide, Dec 2002, 27.
Marcus O'Donnell, Outrage, 'All about nothing', pg. 30-31, Melbourne, Jun 1997, 30, 31.
Steve Perkin, The Age, 'The jobs people do', pg. 8, Melbourne, 12 Jun 1997, 8 (illus.).
Russell Storer (Curator), Jones/Starling, Sydney South, 2002, 8 (colour illus.), 9 (colour illus., detail), 20.
In the ruins of the twentieth century, P.S.1, New York, 1996–1996
Mathew Jones: recent work, Tolarno Galleries, Melbourne, 07 Jun 1997–05 Jul 1997
Strolling, Museum of Modern Art at Heide, Bulleen, 03 Oct 1998–22 Nov 1998
Mathew Jones/Simon Starling, Museum of Contemporary Art, Australia, 11 Oct 2002–01 Dec 2002
MCA collection: new acquisitions in context 2010, Museum of Contemporary Art, Australia, 10 Dec 2009–19 Jun 2010
Change, Monash University Museum of Art, Caulfield East, 27 Oct 2010–18 Dec 2010