| Wang Guangyi was born on 1957 Born in
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| | totality between 1966 and 1972, during the
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| Harbin, China. He lives and works in
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| | Gang of Four's reign [i].
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| Beijing, China. The paintings of Wang
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| | Certainly, the vast legacy of propaganda
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| Guangyi belong to the category of Chinese
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| | that resulted from this period will
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| contemporary art termed Political Pop:
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| | continue to impact artists interested in
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| work that appropriates the visual tropes
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| | critically examining China's recent visual
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| of the propaganda of the Cultural
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| | history. After all, these images were more
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| Revolution, reworking them in the flat,
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| | than simply popular; for a time, they were
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| colorful style of American Pop.
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| | the only ones allowed.
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| To understand the works of artists engaged
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| | SELECTED EXHIBITIONS-
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| in this practice, it is important to
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| | 2006
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| recognize the significance and specificity
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| | • Galerie ARARIO, Seoul, Korea.
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| of the images they are using to fashion
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| | 2004
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| their work. Without this knowledge, the
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| | • Galerie Urs Meile, Lucerne,
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| work of artists like Wang Guangyi may be
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| | Switzerland.
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| reduced to a mere aestheticization of the
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| | 2003
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| experiences of the Cultural Revolution, a
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| | • Galerie Enrico Navarra, Paris, France
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| view which threatens to limit the
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| | 1997
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| discussion of these works to their formal
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| | • Littmann Kulturprojekte, Basel,
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| elements, foreclosing more important
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| | Switzerland.
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| ideological and historical questions that
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| | 1994
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| must be raised.
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| | • Hanart TZ Gallery, Hong Kong, China
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| It is perhaps equally essential,
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| | Conclusions:
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| particularly for Western audiences, to
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| | Wang Guangyi had already established his
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| keep in mind the dominance that the Maoist
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| | own style and the impact of the work had
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| regime held over visual culture and
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| | won him a strong reputation in Chinese art
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| artistic production in China from 1949 to
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| | circles.
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| 1976, a control that reached a near
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| | What to Do Next...
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