In the artwork shown here, Oscar yi Hou performs the role of Kato, the sidekick and valet of the protagonist in the 1960s television show “The Green Hornet.” The actor, Bruce Lee, insisted on portraying Kato as a masterful martial artist to counter his subservient role. In homage to Lee, and in reference to the homoerotic art of Tom of Finland, the artist portrays Kato as queerly hypermasculine, destabilizing our perceived notions of masculinity.
See each of yi Hou’s 11, unique paintings as part of Oscar yi Hou: East of sun, west of moon through September 17.
Look closely at the whip held here, and you’ll see that it’s actually the subject’s hair pulled back into a single braid.
A queue is a hairstyle worn by male Chinese immigrants in the nineteenth-century United States. Anti-Chinese sentiments and Western standards associating long hair with women turned the queue into a target: Chinese men were deemed un-American and effeminate, leading to violent, sometimes fatal, attacks.
Depicting his subject wielding his own queue as a whip, Oscar yi Hou suggests the figure’s empowerment through queer masculinity. The painting cites the homoerotic photography of Bob Mizer and a drawing from our own collection by contemporary artist Wang Fang-yu.
Can you see Oscar yi Hou’s hands holding the mirror that makes his subject’s reflection visible? This is one manner in which the artist calls attention to the Western ideal of white masculinity, while reiterating a question that echoes throughout the exhibition: who is considered American?
The frame of this mirror is also designed in part after an ornamental object in our collection. Swipe to see the twentieth century, greenish nephrite pendant from our collection that informed the arc-shaped object atop the mirror in yi Hou’s painting.
Be it Hollywood film stills, zodiac symbols, or even Chinese and Japanese artworks from our collection, Oscar yi Hou’s process typically involves appropriating and transforming details from a broad range of source material. In the end, his central subjects are part of a collage-like composition of “Oriental” and “Western” imagery—descriptors the artist uses to highlight the perceived foreignness of people from East Asia.
In yi Hou’s work, shown here, he references the late 18th-early 19th century nephrite jade object from our Asian Art collection.
Oscar yi Hou’s artistic process often begins with a reference image.
In this painting, for example, you can see the artist’s allusions to Wang Wen’s “Mountain Hermitage in Summer” from our Asian Art collection. Swipe to see close-up views of the Ming Dynasty details that yi Hou interpreted as part of his own work for this series, called “Coolieisms,” a title that points to the denigrated status that Americans assigned to East Asian immigrants as early as the nineteenth century.
Visit Oscar yi Hou: East of sun, west of moon through September 17.
🎨 Installation view, Oscar yi Hou: East of sun, west of moon, October 14, 2022 - September 17, 2023. Brooklyn Museum. (Photo: Danny Perez) → Wang Wen (Chinese, 1497-1576). Mountain Hermitage in Summer, 16th century. Hanging scroll, ink on paper, overall: 93 x 30 3/16 in., 35 in. with rollers. Brooklyn Museum, Gift of the C. C. Wang Family Collection, 1997.185.8
At nearly seven feet tall, this “poem-picture” greets you as you turn the corner to Oscar yi Hou: East of sun, west of moon.
This work portrays a friend of Oscar yi Hou’s, a queer Filipino American, whose recent citizenship is implied through the shadow the subject casts against the backdrop of the American flag. The text on the red stripes appropriates the welcome letter that the subject received from the U.S. president upon naturalization. By replacing the word “America” with “Empire,” the painting alludes to the history of American imperialism and ‘nation-building’ in transpacific regions, which has impacted the sitter’s country of birth.
See this work as part of Oscar yi Hou: East of sun, west of moon on the fourth floor. #OscaryiHouBkM
Young artists ages 8–10 and 11–13 are in for a real artistic adventure with this summer’s schedule inspired by our exhibitions and collections:
✍️ July 3–7: Sculpture and animation inspired by DEATH TO THE LIVING, Long Live Trash
🎨 July 31–August 4: Mixed media and photography inspired by Africa Fashion
Learn more about Summer Camp, including scholarship opportunities (available on a first-come, first-served basis) and save your spot: https://bit.ly/summercampbkm
📷 Brooklyn Museum summer camp, July 6, 2021 - August 13, 2021. Education studios. Brooklyn Museum (Photo: Jonathan Dorado)
If you’re heading to #FirstSaturdaysBkM later, here are a few tips and tricks:
👉 First Saturday is free, but you must RSVP in advance
👉 Tickets to Thierry Mugler: Couturissime must be purchased separately
👉 Coat check is available on a first-come, first-served basis
👉 Masks are optional in the Museum, but required in the Auditorium
Oscar yi Hou is an artist, a writer, and a self-described “internet kid.”
At 24 years old, yi Hou is the third winner of the UOVO Prize, bringing 11 of his most recent paintings to Oscar yi Hou: East of sun, west of moon. In it, you’ll find traces of the Liverpool-born artist’s interests, identity, and inspirations.
His practice combines painting, calligraphy, and poetry. Image and text are both central to the artwork yi Hou produces as language anchors his exploration of what it means to be a child of immigrant Chinese parents as well as part of the East Asian diaspora in the United States.
In the center of the exhibition, you’ll also find the namesake poem he wrote that alludes to the feeling of being in between places and identities, shown on slide 2.
📷 Hannah Wyatt → Installation view, Oscar yi Hou: East of sun, west of moon, October 14, 2022 - September 17, 2023. Brooklyn Museum. (Photo: Danny Perez)
Now Open… Oscar yi Hou: East of sun, west of moon.
Chinese zodiac signs, Taoist symbols, cowboy hats, and American flags are amongst some of the artist’s “Chinese cowboy” iconography that you’ll find in the exhibition. Each of which aids in highlighting the limitations of the term “Asian American.”
Throughout his paintings, yi Hou depicts subjects who, like him, are part of creative, queer, Asian, and diasporic communities. This particular painting, entitled “birds of a feather flock together, aka: A New Family Portrait,” inspired the 50-square-foot mural on the façade of UOVO’s facility in Bushwick. Two of the subjects in this work—Oscar yi Hou and Amanda Ba—along with the artist Sasha Gordon, will celebrate the opening of this exhibition through a conversation moderated by curator Eugenie Tsai on October 20 at 7 pm to discuss their creative relationships and their varied approaches to figuration.
Get your tickets to #BkMTalks and learn more about #OscaryiHouBkM: https://bit.ly/34QgwKI
Opening October 14… Oscar yi Hou: East of sun, west of moon.
Named for the artist’s consideration of the in-betweenness of Asian American identity, this exhibition is a timely, focused feature of eleven recent paintings that primarily highlight queer, Asian diasporic subjects and illuminate the intersectional identities of the artist and his friends.
We are very excited to host yi Hou’s first solo museum exhibition as the winner of the third UOVO Prize, which cites East Asian visual culture and U.S. popular culture to encourage us to question who is considered “American” at this time of social unrest and political polarization.
Learn more about this upcoming exhibition, which will be on view through September 17, 2023. The UOVO Prize is made possible by UOVO.