Leading Artists of Chinas Pop Art Movement Such as Wang Guangyi Have Assumed the Role of

Wang Guangyi
Born	王广义 1957 Harbin, Heilongjiang, Mainland china
Nationality	Chinese
Movement	Political Pop
Website	wangguangyi.artron.net (in Chinese)

Wang Guangyi (Chinese: 王广义; built-in 1957) is a Chinese creative person. He is known as a leader of the new art movement that started in China later 1989, and for his Neat Criticism series of paintings, which use images of propaganda from the Cultural Revolution (1966–1976) and contemporary brand names from western advertising.^{[ citation needed ]}

Life [edit]

Wang Guangyi was born in Harbin, Heilongjiang Province in 1957.^[ane] Wang's father was a railway worker in northeastern People's republic of china. Like many other people, Wang experienced the influence of the Cultural Revolution and had to work in a rural village for three years. He besides became a railway worker.^[2] Wang tried for four years to get into a college. After several failed attempts, he enrolled at Zhejiang Academy of Fine Arts. He graduated from the oil painting section of the academy in 1984.^[3] He lives and works in Beijing, China.^[1]

Artwork [edit]

Langham Place Atrium overpass betwixt the Langham Identify Hotel and the Langham Place Mall. The statue is part of the Materialist Serial by Wang Guangyi

His work is considered in China to be in the Political Pop genre;^{[1] [4] [5] [6]} some consider this an error.^[7]

Early works – Mid-1980s [edit]

The N Pole is a recurring theme in Wang Guangyi'south early works; it is seen non in relation to its geographic characteristics, but equally a symbolic identify where a new faith is born, in which the private must deal principally with himself, merely without freeing himself from the social. Working on the Frozen Due north Pole wheel (1984-1985), the grouping of young Artists of the Due north, of which Wang Guangyi was a function, chose to confront themselves with Western philosophy. In his Mail service Classical series (1986-1988) Wang Guangyi worked on a synthetic revision of the swell works of Western art tied to themes of religion, morality, faith and ideology. These paintings use various greyness tones and encapsulate the human effigy and its environment without many details. Wang Guangyi's objective consisted in elaborating a style that deviated from that of classic art, an expressive strategy which derived from his reading of Gombrich.^{[2] [viii]}

Dandy Criticism, 1990-2007 [edit]

Great Criticism is Wang Guangyi'south virtually famous cycle of works. These works apply propaganda images of the Cultural Revolution and gimmicky logos from Western advertisements. Wang Guangyi began this cycle in 1990 and ended it in 2007 when he became convinced that its international success would compromise the original meaning of the works, namely that political and commercial propaganda are ii forms of brainwashing.^{[2] [8] [nine]}

1990s [edit]

The series and installations VISA (1995-1998), Passport (1994-1995), and Virus Carriers (1996-1998) comprise images of infants, grown adults and dogs accompanied by their corresponding names, places, dates of nascency and genders. The aforementioned titles of these works are and so imprinted upon these images. By forefronting the bureaucratic procedures tied to moving from one country to some other, these works reveal that the system of the Land enacts its own defenses when evaluating the potential danger of individuals. Wang Guangyi perceives a well-established climate of reciprocal suspicion and looming danger, which ripened during the Cold State of war and yet persists today, even if it has lost the oppressiveness born of forced indoctrination. Wang Guangyi'southward reflection deals with the human relationship that Power has with the individual, on which it maintains control past increasing commonage fears to and then propose itself every bit a breastwork against unknown dangers that could suddenly strike against defenseless people. The artist maintains that through these forms of psychological pressure, a tacit agreement that provides protection against the contagion of new viruses in exchange for the renouncement of a function of one's freedom is forged between the Power and the individual.^{[2] [9]}

2000s [edit]

During the 2000s the relationship betwixt Wang Guangyi's works and the transcendent increased. In fact the title given to the Materialist series (2001-2005) is not contradictory. This series of sculptures made from the images of twelve workers, farmers and soldiers that were taken from propaganda images. Co-ordinate to Wang Guangyi these propaganda images bring to light that the primary force of the people, the acrimony expressed past their movements, derives from religion in ideology. With these sculptures the creative person attempts to put an epitome to the general feeling of the people while referencing dialectic materialism - Materialist is a term that has particular import in Chinese history in that information technology summarizes the socialist credo. At the same fourth dimension, the artist too sees another level of pregnant inside the work. In art, things that possess certain conceptual qualities are called "the object", which in Chinese has the same root as the word "materialist", Wang Guangyi has likewise represented the groovy political (Lenin, Stalin, Mao), spiritual (Christ) and spiritual and political leaders (John XXIII), as well equally the philosophers whose thought continues to exert its influence today (Marx and Engels) in series of oil paintings entitled New Religion (2011). The images seem taken from photographic negatives, and though the creative person uses a traditional oil painting technique in these works, the ambiguity created by the reference to photography breaks the familiarity that the spectator has with them, thereby opening up interpretations as to their meaning. Through this cycle of works Wang Guangyi has asked himself about the commonalities between the great utopias, the fascination that they exert on humans, and why all men feel the need to find figures on which to place their religion. The installations that make up the cycle Common cold State of war Aesthetics (2007-2008) contain historical reconstructions of the Common cold War menses. In these works, Wang Guangyi deals with the psychological effects of the propaganda that was characteristic of the Chinese political climate of that time. In order to evoke a psychological reaction, the artist makes the spectators feel the emotion, climate and mentality of that era.^{[ii] [9]}

Criticism [edit]

Wang Guangyi, like others such as Fang Lijun, has become a millionaire, one of People's republic of china's nouveau riches. Such painters, with their large studios and expensive houses and cars, are in China chosen bopu dashi or "pop masters".^[6] Wang Guangyi'due south successful career and fast growing wealth have drawn criticism. Some have questioned his artistic value, along with the price of his works. Some critics claim that Wang "has lost his creative ingenuity, gives in to the market, and has also become dependent on repeating his already successful works".^[ten]

Solo exhibitions [edit]

Wang Guangyi has had a number of solo exhibitions, including:^[one]

• 1993: Galerie Bellefroid, Paris, France
• 1994: Hanart TZ Gallery, Hong Kong
• 1997: Galerie Klaus Littmann, Basel, Switzerland
• 2001: Faces of Faith, Soobin Fine art Gallery, Singapore
• 2003: Gallery Enrico Navarra, Paris, France
• 2004: Galerie Urs Meile, Lucerne, Switzerland
• 2006: Arario Gallery, Seoul, Korea
• 2007: Galerie Thaddaeus Ropac, Paris, France
• 2008: Visual Politics, He Xiangning Fine art Museum, Shenzhen, China
• 2008: Common cold State of war Aesthetics, Louise Blouin Institute, London
• 2011: The Interactive Mirror Prototype, Tank Loft, Chongqing Contemporary Art Center, Chongqing, China
• 2012: Affair-In-Itself: Utopia, Popular and Personal Theology, Today Art Museum, Beijing, China^[eleven]
• 2012: Common cold War Aesthetics, Pujiang Oversea Chinese Boondocks, Shanghai, China^[12]

References [edit]

1. ^ ^{a b c d} Wang Guangyi. Saatchi Gallery. Archived 20 Baronial 2013.
2. ^ ^{a b c d e} Demetrio Paparoni, Wang Guangyi, Words and Thoughts 1985−2012, Skira, Milan, Italia, 2013
3. ^ Wang Guangyi. ShangArt Gallery. Accessed Jan 2014.
4. ^ Skira: Fall 2013. Milan: Skira Editore. p. 26–27. Accessed January 2014.
5. ^ Ralph Croizier (1999). The Avant-garde and the Democracy Move: Reflections on Late Communism in the USSR and China. Europe-Asia Studies 51 (3): 483-513. p. 495. (subscription required)
6. ^ ^{a b} Sheldon Hsiao-peng Lu (1997). Fine art, Culture, and Cultural Criticism in Post-New Mainland china.New Literary History 28 (1: Cultural Studies: Communist china and the Due west): 111-133. p.. 116. (subscription required)
7. ^ Wang Guangyi: Works and Thoughts 1985−2012. Skira Grouping. Accessed January 2014.
8. ^ ^{a b} Lu Peng, A History Of Art in 20th-Century China, Edizioni Charta, Milan, Italy, 2010, pp. 1153–1174
9. ^ ^{a b c} Huang Zhuan, Politics and Theology in Chinese Contemporary Art /Reflections on the work of Wang Guangyi, Skira, Milan, Italy 2013
10. ^ 另一个王广义，未必就是真的王广义 (in Chinese). 南方周末. Retrieved 6 May 2012.
11. ^ Thing-in-itself: Utopia, Pop and Personal Theology – Wang Guangyi Retrospective Exhibition. Today Fine art Museum. Accessed January 2014.
12. ^ Sue Wang (2 Nov 2012). 2012 Public Art Project "Wang Guanyi: Cold War Artful" to be exhibited at Pujiang Overseas Chinese Town. Cafa Fine art Info. Accessed January 2014.

Further reading [edit]

• Karen Smith. Guangyi, 2003
• David Spalding. The Paintings of Wang Guangyi: Revolutionary Acts? January, 2006
• Mary Bittner Wiseman (2007). Subversive Strategies in Chinese Avant-Garde Art. The Journal of Aesthetics and Art Criticism 65 (1, Special Effect: Global Theories of the Arts and Aesthetics; Winter, 2007): p. 109–119 (subscription required)
• Demetrio Paparoni. Wang Guanyi: Works and Thoughts 1985-2012. Milan: Skira, 2013

Media related to Wang Guangyi at Wikimedia Commons

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Source: https://en.wikipedia.org/wiki/Wang_Guangyi

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