The exhibition is named after a series of significant eponymous works from 1991–98 that broadly represent the concept of the outlaw, which Wong embraced and fetishized throughout his career, from the juvenile delinquents of Manhattan’s Lower East Side (Loisaida) to his befriended graffiti artists operating at night. Offenses Against Public Health, Order, and Decency Chapter 16. ![]() Malicious Mischief is divided in thematic rooms, guided by Wong’s own artistic biography: the exhibition reflects on Wong’s multilayered universe as seen through his early paintings, poems and sculptures made in the euphoric 1960s and early 1970s environments of San Francisco and Eureka, California, where he grew up as the only son of American-born Chinese parents, his iconic 1980s and 1990s paintings from his time as a citizen of a dilapidated New York City, as well as his reminiscences on the imagery of the East and West Coast Chinatowns, made prior to his premature death from an AIDS/HIV-related illness. Any person who shall deliberately cause to the property of another any damage not falling within the terms of the next preceding chapter shall be guilty of malicious mischief. Heavily influenced by the artist’s immediate surroundings, Poetically weaving together narratives of queer existence, marginal communities, and urban gentrification, Wong stands out as an important countercultural voice at odds with the art establishment’s reactionary discourse at the time. Malicious Mischief Second Degree (RCW 9A.48.080) is defined as 1) knowingly and maliciously causing damages to the property of another in an amount in excess of 750, or 2) causing a risk of impairment or interruption of a public service by damaging or tampering with an emergency vehicle or other government property. Martin Wong (1946–1999, US) is recognized for his depictions of social, sexual, and political scenographies in the United States from 1970s to 1990s.
0 Comments
Leave a Reply. |