Manuel Ocampo

Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!

March 1, 2018 — April 14, 2018


ENLARGE

Let's debrief & jockey for position under where you grin & bury it all (with Gorka Mohamed, Roger Kleier, Irene Iré, and title by Paolo Javier), 2018

mixed media

120 x 170 in. (305 x 432 cm)

ENLARGE

La Herencia Canibal (with Irene Iré), 2018

mixed media

120 x 175 in. (305 x 445 cm)

ENLARGE

Once told Emmy there isn't really a whole lot of racism in America Anymore (with Daze, Jevijoe Vitung, Jigger Cruz, Irene Iré, and totle by Paolo Javier), 2018

mixed media

120 x 215 in. (305 x 546 cm)

ENLARGE

Why praise interracial, still a white man's facial (with Daze, Jevijoe Vitung, Jigger Cruz, Gorka Mohamed, Irene Iré, Lazaro Juan and title by Paolo Javier), 2018

mixed media

120 x 280 ¼ in. (305 x 712 cm)

ENLARGE

Yes, Sir! No, Sir!, Right Away, Sir!, 2017

acrylic on canvas

72 x 54 in. (183 x 137 cm)

ENLARGE

White Man’s Burden: Ready for Prime Time, 2017

acrylic on canvas

74 x 48 in. (188 x 122 cm)

ENLARGE

Unknown Pleasures, 2017

oil and acrylic on canvas

74 x 48 in. (188 x 122 cm)

ENLARGE

Ethnic Types 1, 2017

acrylic on canvas

74 x 48 in. (188 x 122 cm)

ENLARGE

Picabian Steak (with Irene Iré), 2018

oil and acrylic on canvas

64 x 48 in. (162.5 x 121.5 cm)

ENLARGE

Detritus Iberico (with Irene Iré), 2018

oil and acrylic on canvas

48 x 36 in. (121.5 x 91.5 cm)

ENLARGE

Sunday Worship (with Liwayway Ocampo and Ma. Jerissa Enriquez), 2018

mixed media

42 ½ x 29 in. (108 x 73.5 cm)

ENLARGE

Spanish Olive (with Gorka Mohamed, Jigger Cruz and Irene Iré), 2018

mixed media

42 x 30 in. (106.5 x 76.5 cm)

ENLARGE

Carved in Stone (with Lazaro Juan)

mixed media

19 ¾ x 23 in. (50 x 58.5 cm)

ENLARGE

Drunken Duck in a Kiefer Exhibition (with Todd Richmond), 2018

diptych, acrylic on canvas

96 x 48 in. (244 x 121.5 cm) each panel

ENLARGE

The Dance of the Intestinal Mishap (with Todd Richmond and Paz Tanjuaquio), 2018

installation

96 x 98 ½ x 96 ½ in. (244 x 250 x 245 cm)

ENLARGE

Para Los Artistas Operados, 2017

wood and paper collage

54 ¾ x 23 ¼ x 15 ¾ in. (139 x 59 x 40 cm)

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

ENLARGE

View of "Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!" at Tyler Rollins Fine Art, March 1 - April 14, 2018.

 

 

Works

INSTALLATION VIEWS

ABOUT THE EXHIBITION

With Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!, Manuel Ocampo returns for his fourth solo exhibition at Tyler Rollins Fine Art, taking place from March 1 through April 14, 2018. The exhibition features large-scale paintings inspired in part by the work of Theodor de Bry (1528–1598), known for his detailed and sometimes fanciful engravings of the native inhabitants of the Americas and their recent contacts with European explorers and colonists. Ocampo intermixes scenes from these works with motifs taken from American political cartoons from the period of the Philippine American War (1899-1902), with their often outrageous ethnic stereotypes. That war is considered by many to be “America’s first Vietnam War,” and its years of invasions, insurgency, and atrocities remain a major touchstone in Philippine history, although they are largely forgotten in the US. Through the juxtaposition of imagery from two historical periods of contact and conflict between the Western and non-Western worlds, Ocampo explores the evolving role of visual representations in colonial expansion, both as complicit agents and as modes of resistance, while also reflecting on themes relating to personal identity, race, and migration that seem so relevant today. Ocampo’s new works were prepared in an open studio at the gallery, in which other artists were invited to collaborate. Based in New York, the Philippines, and Europe, they include: Daze, Jigger Cruz, Irene Iré, Lazaro Juan, Gorka Mohamed, Todd Richmond, Roger Kleier, Paolo Javier, and Jevijoe Vitug. A video of a performance by Paz Tanjuaquio is screened in a large cubic structure that evokes the balikbayan boxes used by Filipino overseas workers to send items back home.

 

Ocampo has been a vital presence on the international art scene for the past thirty years, with a reputation for fearlessly tackling the taboos and cherished icons of society and of the art world itself. Born in Metro Manila, the Philippines, in 1965, he moved to California in 1985, living first in Los Angeles from 1985-1994 and, after a few years in Spain, residing in San Francisco from 1999-2005. His first solo exhibition, which took place in LA in 1988, set the stage for a rapid rise to international prominence. By the early 1990s, his reputation was firmly established, with inclusion in Documenta IX (1992), and the Venice Biennale (1993). He was the youngest artist participating in Helter Skelter: L.A. Art in the 1990s at The Museum of Contemporary Art, Los Angeles, in 1992, a seminal and at times controversial exhibition featuring artists such as Chris Burden, Mike Kelley, Paul McCarthy, Raymond Pettibon, Charles Ray, and Jim Shaw. Ocampo is considered a key figure in the Los Angeles art scene of that time, when he was noted for his bold use of a highly charged iconography that combined Catholic imagery with motifs associated with racial and political oppression. His paintings made powerful, often conflicted, statements about the vicissitudes of personal and group identities, and illustrated, sometimes quite graphically, the psychic wounds that cut deep into the body of contemporary society, translating the visceral force of Spanish Catholic art, with its bleeding Christs and tortured saints, into our postmodern, more secular era of doubt, uncertainty, and instability.

 

Ocampo moved back to the Philippines in 2005 and continues to be based primarily in Manila, where he has remained quite active in the local art scene, mentoring a generation of younger artists. In recent years, his works have featured more mysterious yet emotionally charged motifs that evoke an inner world of haunting visions and nightmares. He often makes use of an eclectic array of quasi-religious, highly idiosyncratic icons featuring teeth, fetuses, sausages, and body parts alongside more traditional Christian motifs. The process of artistic creation is often a central concern, with many works making ironic commentaries on notions of artistic inspiration, originality, and the anxiety of influence. The artist himself is frequently the subject of parody and self-mockery, sometimes appearing as a buzzard, a kind of cultural scavenger, or assuming slightly deranged alter egos. He frequently includes sly references to the works of other artists, just as in the past he often referred to the work of provincial painters of Catholic altars. His work was featured in the Philippine Pavilion in the 2017 Venice Biennale (see photo above), with a monumental installation of new paintings alongside three works from the mid-1990s.

ABOUT THE ARTIST

Manuel Ocampo →

ADDITIONAL INFO

Press Release

EXHIBITION REVIEWS

Art Radar, “Yes, Sir/Ma’am! No, Sir/Ma’am! Right Away, Sir/Ma’am!”: Filipino painter Manuel Ocampo in New York – artist profile

March, 2018


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GENERAL PRESS

Cima & Holzenthal, Manuel Ocampo

May, 2017


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Art Asia Pacific, Manuel Ocampo

May, 2017


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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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Blouin Art Info, Manuel Ocampo’s “The Corrections” at Tyler Rollins Fine Art

January, 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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The Wall Street Journal, Asian Artists Hold Solo Shows in New York

October, 2010


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Kunst und Auktionen

October, 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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