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Five Times for Harvey
1982
30 x 24 in. (76.2 x 60.96 cm)
Robert Arneson (Benicia, California, 1930 - 1992, Benicia, California) Primary
Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
So, Who Do You Think You Are?, September 25, 2011 - January 15, 2012
New Wing, Second Floor, Central Skylight Gallery, San José Museum of Art.
It's About Time: Celebrating 35 Years, October 3, 2004 - February 13, 2005
New Wing, Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
Rise Up! Social Justice in Art from the Collection of J. Michael Bewley (2018)
Known for his idiosyncratic, revolutionary ceramics and self-portraits, Robert Arneson is one of the most influential artists associated with the University of California, Davis and one of the few artists of his generation to engage political satire. Following a controversial incident—a bust of the late Mayor George Moscone was commissioned by the city of San Francisco and then publicly rejected by Mayor Diane Feinstein—Arneson’s work became more explicitly political, ranging from gay rights to American militarism in the Middle East to race relations in the United States. Five Times for Harvey is closely related to the Moscone memorial bust, and reflects Arneson’s deeply held commitment to political and socially relevant content.
In five mixed-media drawings, Arneson interpreted the tragic assassination of the first openly gay elected official in California, San Francisco County Supervisor Harvey Milk (1930 – 1978), who died at the hand of fellow supervisor Dan White. Only days before the shooting, White had resigned in stated opposition to the enactment of a gay civil rights bill, which would ban discrimination in employment, housing, and public accommodations based on sexual orientation. Arneson depicted this political milestone through a series of five caricatured portraits of Milk. Dramatic gestures, satirical language, and cartoonish symbols chronicle Milk’s journey from “Mayor of Castro Street” to the dark moment of his death to a final tribute marked by a symbolic gold star.
So, Who Do You Think You Are? (2011-2012)
In five separate but closely related mixed-media drawings, Robert Arneson explored the tragic assassination of Harvey Milk, California’s first openly gay elected public official. The first image presents Milk as the “Mayor of Castro Street,” with the word “deviant” scribbled at the top. The second image depicts Milk as county supervisor; his name and the words “Gay Leader” are written across his forehead. “Room 237” alludes to the office where Milk would be killed by Dan White, whose shadow partially obscures the right side of Milk’s face. In the third drawing Arneson used black pigment to show the moments preceding Milk’s murder; the words “no Dan no” signal his plea for mercy. Milk is shown dead in the fourth image; his eyes are bluish-black pits and his mouth a smear. Yet, in the final drawing, Milk’s exuberant smile and bright expression have returned; he has become a part of history. The large, gold star over Milk’s face suggests his martyrdom for the cause of gay rights and civil freedoms.
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Five Times for Harvey
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Five Times for Harvey
Mixed Media (2D)
198230 x 24 in. (76.2 x 60.96 cm)
Robert Arneson (Benicia, California, 1930 - 1992, Benicia, California) Primary
Object Type: Mixed Media (2D)
Medium and Support: Mixed media on paper
Credit Line: Gift of J. Michael Bewley
Accession Number: 2015.07.01a-e
Exhibition
Rise Up! Social Justice in Art from the Collection of J. Michael Bewley, June 8, 2018 – September 30, 2018Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
So, Who Do You Think You Are?, September 25, 2011 - January 15, 2012
New Wing, Second Floor, Central Skylight Gallery, San José Museum of Art.
It's About Time: Celebrating 35 Years, October 3, 2004 - February 13, 2005
New Wing, Gibson Family Gallery and Plaza Gallery, First Floor, San José Museum of Art.
SJMA Label Text
Rise Up! Social Justice in Art from the Collection of J. Michael Bewley (2018)
Known for his idiosyncratic, revolutionary ceramics and self-portraits, Robert Arneson is one of the most influential artists associated with the University of California, Davis and one of the few artists of his generation to engage political satire. Following a controversial incident—a bust of the late Mayor George Moscone was commissioned by the city of San Francisco and then publicly rejected by Mayor Diane Feinstein—Arneson’s work became more explicitly political, ranging from gay rights to American militarism in the Middle East to race relations in the United States. Five Times for Harvey is closely related to the Moscone memorial bust, and reflects Arneson’s deeply held commitment to political and socially relevant content.
In five mixed-media drawings, Arneson interpreted the tragic assassination of the first openly gay elected official in California, San Francisco County Supervisor Harvey Milk (1930 – 1978), who died at the hand of fellow supervisor Dan White. Only days before the shooting, White had resigned in stated opposition to the enactment of a gay civil rights bill, which would ban discrimination in employment, housing, and public accommodations based on sexual orientation. Arneson depicted this political milestone through a series of five caricatured portraits of Milk. Dramatic gestures, satirical language, and cartoonish symbols chronicle Milk’s journey from “Mayor of Castro Street” to the dark moment of his death to a final tribute marked by a symbolic gold star.
So, Who Do You Think You Are? (2011-2012)
In five separate but closely related mixed-media drawings, Robert Arneson explored the tragic assassination of Harvey Milk, California’s first openly gay elected public official. The first image presents Milk as the “Mayor of Castro Street,” with the word “deviant” scribbled at the top. The second image depicts Milk as county supervisor; his name and the words “Gay Leader” are written across his forehead. “Room 237” alludes to the office where Milk would be killed by Dan White, whose shadow partially obscures the right side of Milk’s face. In the third drawing Arneson used black pigment to show the moments preceding Milk’s murder; the words “no Dan no” signal his plea for mercy. Milk is shown dead in the fourth image; his eyes are bluish-black pits and his mouth a smear. Yet, in the final drawing, Milk’s exuberant smile and bright expression have returned; he has become a part of history. The large, gold star over Milk’s face suggests his martyrdom for the cause of gay rights and civil freedoms.
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Bibliography List
This object has the following bibliographic references: - Selections: The San Jose Museum of Art Permanent Collection. Selections: The San Jose Museum of Art Permanent Collection San Jose Museum of Art. San Jose, CA, 2004
Page Number: 2-5 - Hide/Seek: Difference and Desire in American Portraiture. Hide/Seek: Difference and Desire in American Portraiture National Portrait Gallery. Washington, D.C, 2010
Page Number: 52, Figure Number: 30
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