Manuel Ocampo

The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps

November 8, 2012 — December 22, 2012


ENLARGE

Kitsch Effluvium Sui Generis: The Crucifixion, style 1953, 2012

oil on canvas

20 x 16 in. (51 x 41 cm)

ENLARGE

Nocturnal Emissions of the Limpid Gaze, 2012

oil on canvas

46 1/2 x 33 in. (118 x 83 cm)

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Bureau of Artistic Rehab Logo 2, 2012

oil on canvas

16 x 14 in. (41 x 36 cm)

ENLARGE

Untitled (Maybe This Could be the Title: The Secret Life of Hannah Wilke Circa 1985), 2012

oil, paint peelings and collage on canvas

74 x 78 in. (188 x 199 cm)

ENLARGE

Untitled (Maybe This Could be the Title: Vienna Sausage), 2012

oil on canvas

74 x 78 in. (188 x 199 cm)

ENLARGE

Untitled (Maybe This Could be the Title: Henry Taylor’s Version of Bohemian Rhapsody), 2012

oil and collage on canvas

74 x 78 in. (188 x 199 cm)

ENLARGE

Jayson’s Tatoo: Notes from the Contern Asylum (appropriated from a painting by Francis Krippendorf, circa 1965), 2012

acrylic on canvas

48 x 36 in. (122 x 91 cm)

ENLARGE

Little Brown Fracking Machine (Interior View), 2012

oil, gel medium,screws and collage on canvas, plexiglass and artist’s frame

61 x 61 in. (155 x 155 cm)

ENLARGE

Pollockian Excess In Extremis: Permission to Appear, 2012

oil, crumpled tissue and collage on canvas, plexiglass and artist’s frame

70 x 50 in. (178 x 127 cm)

ENLARGE

Pudendal Gravitas In Abstracta

oil, cigarette butts and collage on canvas, plexiglass and artist’s frame

78 x 57 in. (198 x 147 cm)

ENLARGE

Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

 

 

ENLARGE

Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

 

 

ENLARGE

Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

 

 

ENLARGE

Installation View of "The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self Loathing and Intestinal Mishaps" at Tyler Rollins Fine Art, November 8 - December 22, 2012

 

 

Works

INSTALLATION VIEWS

ABOUT THE EXHIBITION

Tyler Rollins Fine Art is pleased to welcome back Manuel Ocampo for his second solo exhibition with the gallery, taking place from Nov. 8 – Dec. 22, 2012. Known for fearlessly tackling the taboos and cherished icons of society and of the art world itself, Ocampo has been a vital presence on the international art scene for over twenty years. Based in California in the late 1980s and early 1990s, Ocampo had his first solo show in Los Angeles in 1988 and was included in the landmark exhibition Helter Skelter: L.A. Art in the 1990s, organized by Paul Schimmel at The Museum of Contemporary Art, Los Angeles, in 1992. This year marks the twentieth anniversary of that exhibition, which is perhaps alluded to in Ocampo’s title for his current New York show: The View Through the Bull of a Manual Laborer of Menagerie Gussied Over White Ground: 20 Years of Self-Loathing and Intestinal Mishaps. This year also marks the twentieth anniversary of the Asia Pacific Triennial (taking place in Brisbane, Australia, from Dec. 8, 2012 – April 14, 2013), for which Ocampo will present an installation of paintings that reflect on the evolution of his artistic practice over the past twenty years. Ocampo is currently based in Manila, in his native Philippines, but spends significant time working in the United States and Europe, particularly Germany, Luxembourg, and France. Ocampo’s reputation was firmly established in the early 1990s, with his inclusion in two of the most important European art events, Documenta IX (1992) and the Venice Biennale (1993). 
In addition to Helter Skelter, he participated in several international museum exhibitions at that time, including Individual Realities in the California Art Scene at the Sezon Museum of Modern Art, Tokyo (1991), and Jean-Michel Basquiat & Manuel Ocampo at the Henry Art Gallery, Seattle (1994). He has subsequently participated in numerous museum exhibitions and biennials around the world, including the biennials of Gwangju (1997), Lyon (2000), Berlin (2001), Venice (2001, his second showing there) and Seville (2004).

Ocampo’s current exhibition at Tyler Rollins Fine Art has as its dominant motif the figure of a buzzard, which acts as a stand-in for the artist, a cultural scavenger. Perched atop a skull, holding a light bulb in its beak, and flanked by a lighted candle and foaming beer stein, the buzzard parodies traditional artistic conventions of the still life and memento mori as well as the tropes of artistic inspiration. The still life genre continues with a group of smaller canvases, some featuring the buzzard motif or floral arrangements approached as studies in form and color, while others relate to Ocampo’s ongoing series of quasi-religious, highly idiosyncratic icons featuring crosses along with the artist’s familiar motifs of sausages, candles, light bulbs, and body parts. With another group of works, Ocampo creates layered compositions of canvas and plexiglass, a technique he uses here for the first time. Sometimes he paints on the surface of the plexiglass or collages elements on top of or underneath it with clippings from art publications, paint palettes, and cigarette butts, elements that are also seen in the large buzzard paintings. Ocampo foregrounds elements of the painting process that are not normally seen, such as his paint palettes, a sock that he used to wipe his brushes, or the screws used to hang the paintings (many of which appear throughout the salon-style hanging of the smaller paintings, with some actually driven into the surfaces of the works). The exhibition is completed by a large mural (done in “Pepto Bismol pink”) of sinuous intestines enveloping various motifs of the exhibition and inspired by the works of Brice Marden and Jackson Pollock. Ocampo plays with notions of artistic inspiration, originality, and the anxiety of influence – even going so far as to sign many of the paintings with the initials “FK” of his fictional alter ego, Francis Krippendorf, a purportedly mentally insane figure residing in Luxembourg, where Ocampo’s European studio is actually located.

Concurrently with his gallery show, Ocampo has curated a group exhibition of Manila-based artists, entitled Bastards of Misrepresentation, taking place in November and December (2012) at several New York venues, including the Queens Museum, TOPAZ Arts, and Crossing Art.

EXHIBITION REVIEWS

GENERAL PRESS

The Philippine Star, Manuel Ocampo and Lani maestro Channel Rizal

February, 2017


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Artnews, Manuel Ocampo and Lani Maestro Will Represent the Philippines at the 2017 Venice Biennale

October, 2016


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National Commission for Culture and Arts, NCCA Announces PHL Representative to 2017 Venice Art Biennale

September, 2016


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Fukuoka Museum – Asia Collection 100

December, 2015


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Art Loft, Why Southeast Asian Art Now?

December, 2014


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The Guardian, Art from the Philippines showcases global influences anchored in Manila

September, 2013


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Asian Art Newspaper, Manuel Ocampo

February, 2013


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The Wall Street Journal, A Filipino Provocateur Takes On New York

December, 2012


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Artforum, Manuel Ocampo

December, 2012


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Bastards of Misrepresentation: New York Edition

October, 2012


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Art Asia Pacific, Manuel Ocampo: Never Give Up Before It’s Too Late

July, 2012


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Asia Art Archive, Interview with Manuel Ocampo

October, 2011


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Dublin Contemporary 2011, Manuel Ocampo

September, 2011


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C-Arts, Manuel Ocampo On the Threshold of the Senses

March, 2011


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Frieze, Manuel Ocampo

February, 2011


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Art concerns, Up Against Interpretation: Manuel Ocampo

November, 2010


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Vitamin P, Manuel Ocampo

2007


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Asian Art News, Cultural Clashes And Visceral Shocks

July, 2006


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Art in America, Manuel Ocampo

June, 2003


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At Home & Abroad: 20 Contemporary Filipino Artists

1998


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Asia/America: Identities in Contemporary Asian American Art

1994


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Flash Art, Manuel Ocampo

May, 1994


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The Seattle Times, Manuel Ocampo Rides The Arts Roller Coaster

February, 1994


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