The Philosophy and Art of Wang Guangyi

Description

Wang Guangyi, one of the stars of the new wave of Chinese art, has artistically addressed major philosophical trends in Western philosophy while drawing on Taoism, Marxism and Maoism. By bringing together a team of experts in the philosophy of art to discuss his work, The Philosophy and Art of Wang Guangyi presents the first philosophical exploration of Wang's art, his thought and his analysis of Chinese society. From his use of words in images to his reference to the classics of Western painting, contributors set Wang's work against key questions in contemporary art. As well as answering what makes the language of pop art successful, they examine whether art and its history have come to an end, as Hegel posited, and if it is possible or even necessary to rework a new narrative for the history of contemporary art. The Philosophy and Art of Wang Guangyi marks an important contribution to understanding the background, work and ideas of a 21st-century political artist outside the West.

Tiziana Andina is Associate Professor of Philosophy at the University of Turin, Italy. Erica Onnis is a PhD student in theoretical philosophy at the University of Turin, Italy, where since 2015, she is a member of the Labont - Center for Ontology.

Wang Guangyi is the most significant painter to have emerged out of the 1980s encounter between Western and Chinese postmodernisms. This volume's essays and interviews --adeptly traversing conventional boundaries of art criticism, philosophy, history, and political theory-comprise the most significant treatment in English of Guangyi's ironic, intellectual, cool, subversive, and yet wildly popular art. And more generally, the book makes vivid how Chinese contemporary art, despite deploying seemingly similar aesthetic strategies to those found in the West, developed out of substantially sui generis concerns. -- Jonathan Gilmore, Associate Professor of Philosophy, City University of New York, USA By focusing on Wang Guangyi, a trendsetter in contemporary Chinese art since the mid-1980s, this original volume presents a variety of angles to rethink many key concepts and visual strategies in contemporary art across the East-West divide. In so doing it provides an unusually detailed and sensitive analysis of an important artist as well as a possible model for transregional and interdisciplinary studies on global contemporary art. -- Wu Hung, Harrie A. Vanderstappen Distinguished Service Professor, The University of Chicago, USA