In a manufacturing metropolis in south China lies Dafen, an urban village that famously houses thousands of workers who paint van Goghs, Da Vincis, Warhols, and other Western masterpieces for the world market, producing an astonishing five million paintings a year. To write about work and life in Dafen, Winnie Wong infiltrated this world, first investigating the work of conceptual artists who made projects there; then working as a dealer; apprenticing as a painter; surveying wholesalers and retailers in Europe, East Asia and North America; establishing relationships with local leaders; and organizing a conceptual art exhibition for the Shanghai World Expo. The result is Van Gogh on Demand, a fascinating book about a little-known aspect of the global art world—one that sheds surprising light on the workings of art, artists, and individual genius.
Confronting big questions about the definition of art, the ownership of an image, and the meaning of originality and imitation, Wong describes an art world in which idealistic migrant workers, lofty propaganda makers, savvy dealers, and international artists make up a global supply chain of art and creativity. She examines how Berlin-based conceptual artist Christian Jankowski, who collaborated with Dafen’s painters to reimagine the Dafen Art Museum, unwittingly appropriated the work of a Hong Kong-based photographer Michael Wolf. She recounts how Liu Ding, a Beijing-based conceptual artist, asked Dafen “assembly-line” painters to perform at the Guangzhou Triennial, neatly styling himself into a Dafen boss. Taking the Shenzhen-based photojournalist Yu Haibo’s award-winning photograph from the Amsterdam's World Press Photo organization, she finds and meets the Dafen painter pictured in it and traces his paintings back to an unlikely place in Amsterdam. Through such cases, Wong shows how Dafen’s painters force us to reexamine our preconceptions about creativity, and the role of Chinese workers in redefining global art.
Providing a valuable account of art practices in an ascendant China, Van Gogh on Demand is a rich and detailed look at the implications of a world that can offer countless copies of everything that has ever been called “art.”
2 有用 大锅小蝈落地盘 2017-04-26 07:20:43
winnie wong艺术史出身对生产、消费、分配、公平对这么深的理解也是不容易
0 有用 金鱗火鱷 2020-11-04 20:40:26
大芬村的绘画生产
2 有用 Alan 2019-04-04 09:37:06
基于大芬村的田野来重新思考immitation和appropriation的艺术理论问题。通过对于大芬村画家和生意模式的田野调查,揭露了西方流传的关于大芬村作为“艺术流水线生产/血汗工厂” 的神话,指出这种神话以中国为他者,再次巩固了西方浪漫主义/现代主义对于“艺术”之原创性、本真性、独一性之特权身份的意识形态。作者在中国市场化、城市化、农民务工等脉络中解释了大芬村的艺术生产、技能习得和运用等模式... 基于大芬村的田野来重新思考immitation和appropriation的艺术理论问题。通过对于大芬村画家和生意模式的田野调查,揭露了西方流传的关于大芬村作为“艺术流水线生产/血汗工厂” 的神话,指出这种神话以中国为他者,再次巩固了西方浪漫主义/现代主义对于“艺术”之原创性、本真性、独一性之特权身份的意识形态。作者在中国市场化、城市化、农民务工等脉络中解释了大芬村的艺术生产、技能习得和运用等模式,并同艺术史上长久存在的各自trade painting实践联系,也批判了当代艺术对于大芬村模式的想象和挪用,以此反思原创、灵韵、匠作(craft)等概念的多元建构。 (展开)
0 有用 伊卡洛斯在迷楼 2021-04-19 00:57:07
能否跟十年前的黄韵然做一个对话呢?
2 有用 其其实 2014-10-16 15:43:31
理论写得好,田野没做特别好。
0 有用 豆友22237715 2021-06-29 23:30:42
a really impressive piece of work in the field of art history. The author tries to de-romanticize the notions of creativity and authenticity in the art world. so in the 'egalitarian' perspective, the ... a really impressive piece of work in the field of art history. The author tries to de-romanticize the notions of creativity and authenticity in the art world. so in the 'egalitarian' perspective, the western based artists are entitled to claim not more prestigious status or more 'real' art works than the 大芬 painters. (展开)
0 有用 🍅 2021-05-22 15:42:09
在把当代艺术和劳工问题的结合上做得挺好的,个人最感兴趣的是关于installation art的authorship的讨论。
0 有用 伊卡洛斯在迷楼 2021-04-19 00:57:07
能否跟十年前的黄韵然做一个对话呢?
0 有用 野作坊 2021-01-25 23:42:28
没有通读,但已知最关键的是引言部分。目前所知写大芬的学术专著中最(仅有?)严肃的一本,作者调研五年,成书出版又过三年,田野深入全面,并以不同身份参与大芬的生产生活,令人佩服;写作视野涵括中国和世界不同地区的艺术生产群体/模式、以杜尚和本雅明为代表的艺术理论对复制与创造的争论、以及全球资本主义和中国城市化、劳动力流动等等诸多面向。很有意思的一点是,作者提到很多受访者要求实名,便发现一些熟悉的名字(但... 没有通读,但已知最关键的是引言部分。目前所知写大芬的学术专著中最(仅有?)严肃的一本,作者调研五年,成书出版又过三年,田野深入全面,并以不同身份参与大芬的生产生活,令人佩服;写作视野涵括中国和世界不同地区的艺术生产群体/模式、以杜尚和本雅明为代表的艺术理论对复制与创造的争论、以及全球资本主义和中国城市化、劳动力流动等等诸多面向。很有意思的一点是,作者提到很多受访者要求实名,便发现一些熟悉的名字(但我都没访…),其实很多(至少在今天)都算有名有姓的人了,这里有时间发展的因素,或许也有样本选取的因素,作者归根结底更关注的是艺术史和艺术理论脉络下的艺术生产,而更少是社会学所关注的社会互动、身份认同等等(当然这些视角是有的)。重要参考资料,常翻常新:学科视角的可参考性、调研及写作时间的可参考性。 (展开)
0 有用 李二妈在写论文 2020-12-30 19:50:48
有趣且能引起学生思考。很适合教学用。