{"id":823,"date":"2021-06-09T07:54:21","date_gmt":"2021-06-08T23:54:21","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=823"},"modified":"2021-06-08T10:58:58","modified_gmt":"2021-06-08T02:58:58","slug":"the-human-instamatic-martin-wongs-visionary-paintings-of-new-york-continue-to-intrigue","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-human-instamatic-martin-wongs-visionary-paintings-of-new-york-continue-to-intrigue\/","title":{"rendered":"THE HUMAN INSTAMATIC: MARTIN WONG\u2019S VISIONARY PAINTINGS OF NEW YORK CONTINUE TO INTRIGUE"},"content":{"rendered":"

Martin Wong<\/a>, one of the most distinct documentarians of New York City, loved underdogs. In his art, he portrayed loud people hanging in dank stairwells, graffiti artists who worked in the dark, and men who lost, especially those who had lost big, with years of their lives in the state prison system. At a 1984 exhibition at New York\u2019s Semaphore Gallery, he displayed an artist statement scrawled on cardboard. In it, he wrote: \u201cTaking down to street level this time, I wanted to focus in close on some of the endless layers of conflict that has us all bound together\u2026 Always locked in, always locked out, winners and losers all\u2026\u201d<\/p>\n

In the years since, Wong\u2019<\/a>s paintings have slowly gained greater recognition through shows like a 2015 retrospective at the Bronx Museum of Arts. They have been admired for their mix of the real and the fantastic, the religious and the erotic. In his raw yet romantic works, a lover\u2019s poetry fills the sky, and firemen embrace beneath a burning tenement. Only rarely within art history have urban spaces seemed as full with possibility as they do in Wong\u2019s canvases.<\/p>\n

During the \u201980s, in an era when Neo-Expressionism was the dominant mode, the largely self-taught artist stood out in subject and style. He sported a long mustache and cowboy duds. He was an openly gay Asian-American<\/a> man during a period when the city\u2019s Asian diaspora was treated as invisible. (Only 10 years prior, Chinese activists had realized the state census hadn\u2019t bothered to even count hundreds of immigrants living in downtown tenements.) He also made it so that pinning him down on the basis of any one identity was impossible. Wong wasn\u2019t deaf, but he used ASL. He hung out with Puerto Ricans, though he didn\u2019t speak Spanish. He often felt anxious, but he used parody to sublimate his insecurities. In some outsider circles, he was an insider.<\/p>\n

The \u2018Eureka Years\u2019<\/b><\/p>\n

Wong was born in Portland, Oregon, in 1946, and grew up in San Francisco. His parents were Chinese American, but his father had Mexican heritage, so Wong labeled himself ethnically Chino-Latino<\/a>. He graduated with a degree in ceramics from Humboldt State University and won a competitive ceramics exhibition at the de Young museum in San Francisco in 1970. But he abandoned the medium for painting after the museum barred him from the exhibition for using glitter in his entry. He later worked as a street portraitist under the moniker the \u201cHuman Instamatic.\u201d<\/p>\n

 <\/p>\n

Wong termed this nomadic, freewheeling era his \u201cEureka Years,\u201d the name a reference to the city of Eureka, California, as well as to the word for a burst of discovery or invention. From beatniks and bohemians, he observed sexual and creative liberation. At home, he absorbed art history, building expertise in subjects like Asian decorative objects and modern painting. He created posters and sets for the gay street performance troupe the Cockettes and joined their mystical offshoot, the Angels of Light. He traveled through Asia and Europe. He never returned to school\u2014not, at least, in a conventional sense.<\/p>\n

Hearts on Fire<\/strong><\/p>\n

In 1978 Wong traveled to New York and lived a cheap hotel room with a view of the crumbling South Street Seaport. By his account, he got free rent in exchange for working as a night porter. His bedroom there is the subject of a meticulous 1984 painting,\u00a0My Secret World\u00a0<\/em><\/a>(1978\u201381), that recalls similar works by Vincent van Gogh and Edvard Munch. Wong\u2019s bedroom is tidy, its walls decorated with miniatures versions of three of his early paintings. One depicts a series of thick hands sprouting from white cuff links; in ASL, they spell out, \u201cPhysiatrist Testify: Demon dogs drive man to murder,\u201d a reference to the serial killer Son of Sam, who had stalked New York the prior summer. On the bookshelf is fiction by John Cheever and Raymond Chandler, as well as texts on astrology and sports.<\/p>\n

\n
\n
\n
\"Who<\/div>\n<\/div>
Martin Wong,\u00a0My Secret World<\/em>, 1978\u201381, acrylic on canvas.<\/span>COURTESY OF THE ESTATE OF MARTIN WONG AND P\u00b7P\u00b7O\u00b7W, NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

Later, Wong moved to an apartment on Ridge Street the Lower East Side, supporting himself with a job in the gift shop of the Metropolitan Museum of Art uptown. He started showing his work downtown and got to know the local graffiti artists. By the end of his life, he had amassed a significant holding of street art. In 1994, he donated it to the Museum of the City of New York.<\/p>\n

Wong also started hanging out with the poet Miguel Pi\u00f1ero, whom he met in 1982 at the underground art space ABC No Rio. Pi\u00f1ero, a cofounder of the legendary Nuyorican Poets Caf\u00e9 and the author of the Pulitzer Prize\u2013winning play\u00a0Short Eyes<\/em><\/a>, introduced Wong to the music, poetry, and art scene of the Lower East Side, known to the Puerto Rican community as Loisada. Wong fell in love with Pi\u00f1ero\u2014and Loisada as seen through Pi\u00f1ero\u2019s eyes. They often collaborated, as they did with\u00a0Attorney Street (Handball Court With Autobiographical Poem by Pi\u00f1ero),<\/em>\u00a01982\u201384.<\/p>\n

\n
\n
\n
\"Who<\/div>\n<\/div>
Martin Wong,\u00a0Attorney Street: Handball Court with Autobiographical Poem by Pinero<\/em>, 1982\u201384.<\/span>COURTESY OF THE ESTATE OF MARTIN WONG AND P\u00b7P\u00b7O\u00b7W, NEW YORK<\/p>\n

<\/cite><\/figcaption><\/figure>\n<\/div>\n

In that painting, Wong offers a detailed vision of a graffiti mural done on a handball court wall. Floating in the grey sky is a handwritten poem by Pi\u00f1ero: \u201cKNOCKED OUT LIGHTNING, DROWNED A DROP OF WATER, PUT HANDCUFF ON THE WIND, LOCK THUNDER IN JAIL, SLAPPED JESUS IN THE FACE AND RAN SATAN OUT OF HELL<\/small>.\u201d Below, Wong responds in gesturing hands and verse with his own intentions: \u201cIT\u2019S THE REAL DEAL NEAL<\/small>\u00a0\/\u00a0I\u2019M GONNA ROCK YOUR WORLD<\/small>\u00a0\/\u00a0MAKE YOUR PLANETS TWIRL, AIN\u2019T NO WACK ATTACK<\/small>.\u201d<\/p>\n

Many of Wong\u2019s \u201980s works stress New York\u2019s verticality, causing tall building to appear to oppress or entrap the city\u2019s inhabitants. In\u00a0Attorney Street<\/em>, chainlink fences surround the handball court, and red-brick tenements loom like prison watchtowers.\u00a0Big Heat<\/em>\u00a0(1988) blows up that landscape\u2014literally. In Wong\u2019s painting, towering tenement apartments are set ablaze. The brick is scorched black, and the windows burns pink, yellow, and red. The heat of the flames is felt not only physically but also metaphorically: two firemen share kiss beneath the flames. Whether they\u2019ve created the chaos or simply given in to it is left unclear.<\/p>\n

\n
\n
\n
\"Who<\/div>\n<\/div>
Martin Wong,\u00a0Big Heat<\/em>, 1986\u201388, acrylic on canvas.<\/span>COURTESY OF THE ESTATE OF MARTIN WONG AND P\u00b7P\u00b7O\u00b7W, NEW YORK<\/p>\n

<\/cite><\/figcaption><\/figure>\n<\/div>\n

Wong\u2019s firemen were often Black or Brown, and it is possible to read into these works an unsavory form of fetishization. (In 1988, he wrote, \u201cI really like the way firemen smell when they get off work. It\u2019s like hickory smoked rubber and B.O.\u201d) His works from this era are at their best when desire, often confined to dreams, overtakes reality.\u00a0Penitentiary Fox<\/a>\u00a0<\/em>(1988), created the year Pi\u00f1ero died of liver disease, shows the entirety of\u00a0Short Eyes<\/em>\u00a0appearing to the poet in his sleep. Pi\u00f1ero, dressed in white, hovers outside Sing Sing\u2019s gates, freed only in body.<\/p>\n

Tourist Attractions<\/b><\/p>\n

By the \u201990s, Loisaida was losing a battle against gentrification. Lovers, friends, and peers had died or were dying from AIDS or drug addiction. In response, Wong\u2019s work grew quiet, grimmer. In 1985 and 1986, he started making the \u201cLast Picture Show\u201d series, a group of life-size images of shuttered storefronts. In a 1996 interview with Yasmin Ram\u00edrez, who co-organized the 2015 Bronx Museum retrospective, Wong explained how he had purposefully waited to explore Chinatown in his paintings. He admitted to her feeling like a \u201ctourist.\u201d Belonging was a point of anxiety for him, and that sense of apprehension comes through in his Chinatown series. In\u00a0Chinese New Year\u2019s Parade<\/em>\u00a0(1992\u201394), eyes are everywhere, watching a young boy at its center. The dragon, the deities, and the crowd of Chinese New Yorker stare with gazes that accuse or question. His earthy palette was traded in for red and fluorescent blue hues.<\/p>\n

\n
\n
\n
\"Who<\/div>\n<\/div>
Martin Wong,\u00a0Chinese New Year\u2019s Parade<\/em>, 1992\u201394, acrylic on linen.<\/span>COURTESY OF THE ESTATE OF MARTIN WONG AND P\u00b7P\u00b7O\u00b7W, NEW YORK<\/cite><\/figcaption><\/figure>\n<\/div>\n

As Wong himself began dying of AIDS during the mid-\u201990s, he returned to San Francisco. He made three paintings in 1998, the year before his death. In these black-and-white works, cacti from his mother\u2019s garden are reduced until they appear alien, and not a single human is present. The mood is somber and spiritual. It\u2019s the kind of work only a mystic peering inward could produce after a lifetime looking out.<\/p>\n

 <\/p>\n

 <\/p>\n

Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

Martin Wong, one of the most distinct documentarians of New York City, loved underdogs. In his art, he portrayed loud people hanging in dank stairwells, graffiti artists who worked in the dark, and men who lost, especially those who had lost big, with years of their lives in the state prison system. At a 1984 […]<\/p>\n","protected":false},"author":2,"featured_media":824,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-823","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nTHE HUMAN INSTAMATIC: MARTIN WONG\u2019S VISIONARY PAINTINGS OF NEW YORK CONTINUE TO INTRIGUE - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"Martin Wong, one of the most distinct documentarians of New York City, loved underdogs.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/the-human-instamatic-martin-wongs-visionary-paintings-of-new-york-continue-to-intrigue\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"THE HUMAN INSTAMATIC: MARTIN WONG\u2019S VISIONARY PAINTINGS OF NEW YORK CONTINUE TO INTRIGUE - 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