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Big Red
2004
83 1/2 x 95 1/2 in. (212.09 x 242.57 cm)
Evri Kwong (San Francisco, California, 1962 - )
See Something, Say Something, February 9 – April 20, 2019, Museum of Sonoma County, CA.
Renegade Humor, February 3, 2012 - July 8, 2012, New Wing, Second Floor, Central Skylight and South Metro A Galleries, San José Museum of Art.
Visual Politics: The Art of Engagement, November 20, 2005 - March 5, 2006, New Wing, First Floor, Gibson Family Gallery and Plaza Gallery, San José Museum of Art. Circulated to: Katzen Art Center at American University, Washington, DC, April 9-July 29, 2006.
Renegade Humor (2012)
In his politically charged paintings, Evri Kwong addresses the feelings of alienation that have long plagued minority groups, particularly in America. Painted in what the artist describes as a “Neo-Surrealist” style, many of Kwong’s paintings are populated by toylike figures with featureless faces. He has explained: “The style of work that I do reflects what I felt as an outsider [in America]. Going to all-white schools, but being Asian, I was always on the outside.”
Kwong painted Big Red during the early stages of the war in Iraq. Depictions of the abuse of prisoners at Abu Ghraib are juxtaposed with symbols signifying American prowess: a computer, a softball, fast food, and a fighter jet. The central panel depicts a faceless, anonymous nuclear family standing before a suburban home with a white picket fence. The father-figure wears a culturally specific turban but is dressed in a Western business suit—a clever critique of the cultural conformity necessary for minorities who wish to succeed in American society.
Visual Politics: The Art of Engagement (2005-2006)
Painted during the early stages of the ongoing war in Iraq, Big Red features vignettes documenting the human-rights violations against Arab Americans that occurred in the wake of September 11. Depictions of helpless victims enduring violent beatings are juxtaposed with symbols of American prowess: a computer, a fast food meal, and a military fighter jet.
The central panel depicts an anonymous pair standing before a suburban home with a white picket fence—an ironic take on Grant Wood’s famous 1930 painting American Gothic. The man wears a turban, but is also clothed in a western business suit—a clever critique of the cultural conformity that he and others like him must endure to succeed in American society.
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Big Red
Painting
200483 1/2 x 95 1/2 in. (212.09 x 242.57 cm)
Evri Kwong (San Francisco, California, 1962 - )
Object Type: Painting
Medium and Support: Oil and ink on canvas
Credit Line: Museum purchase with funds from the Collection Committee
Accession Number: 2005.38
Exhibition
See Something, Say Something, February 9 – April 20, 2019, Museum of Sonoma County, CA.
Renegade Humor, February 3, 2012 - July 8, 2012, New Wing, Second Floor, Central Skylight and South Metro A Galleries, San José Museum of Art.
Visual Politics: The Art of Engagement, November 20, 2005 - March 5, 2006, New Wing, First Floor, Gibson Family Gallery and Plaza Gallery, San José Museum of Art. Circulated to: Katzen Art Center at American University, Washington, DC, April 9-July 29, 2006.
SJMA Label Text
Renegade Humor (2012)
In his politically charged paintings, Evri Kwong addresses the feelings of alienation that have long plagued minority groups, particularly in America. Painted in what the artist describes as a “Neo-Surrealist” style, many of Kwong’s paintings are populated by toylike figures with featureless faces. He has explained: “The style of work that I do reflects what I felt as an outsider [in America]. Going to all-white schools, but being Asian, I was always on the outside.”
Kwong painted Big Red during the early stages of the war in Iraq. Depictions of the abuse of prisoners at Abu Ghraib are juxtaposed with symbols signifying American prowess: a computer, a softball, fast food, and a fighter jet. The central panel depicts a faceless, anonymous nuclear family standing before a suburban home with a white picket fence. The father-figure wears a culturally specific turban but is dressed in a Western business suit—a clever critique of the cultural conformity necessary for minorities who wish to succeed in American society.
Visual Politics: The Art of Engagement (2005-2006)
Painted during the early stages of the ongoing war in Iraq, Big Red features vignettes documenting the human-rights violations against Arab Americans that occurred in the wake of September 11. Depictions of helpless victims enduring violent beatings are juxtaposed with symbols of American prowess: a computer, a fast food meal, and a military fighter jet.
The central panel depicts an anonymous pair standing before a suburban home with a white picket fence—an ironic take on Grant Wood’s famous 1930 painting American Gothic. The man wears a turban, but is also clothed in a western business suit—a clever critique of the cultural conformity that he and others like him must endure to succeed in American society.
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Exhibition List
This object was included in the following exhibitions: - Visual Politics: The Art of Engagement , 11/20/2005 - 7/29/2006
Dimensions
- Image Dimensions: 83 1/2 x 95 1/2 in. (212.09 x 242.57 cm)
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