Comparison of Xu Bing and Gu Wendi - Essay Example

Comparison of Xu Bing and Gu Wenda The influence of traditional art is still visible within the contemporary art in Chinese context. Besides, one can see that Chinese art is interconnected with calligraphy and printmaking; different genres related to art. Within this scenario, the artworks by Xu Bing and Gu Wenda are important because their works are symbolic of the transformation of Chinese art from traditionalism to contemporary/ modern art. For instance, contemporary artists like Xu Bing and Gu Wenda make use of different medium to express their artistic creativity. Those who appreciate and enjoy traditional art may not appreciate contemporary art because the artists related to this genre may not use traditional tools and medium. In addition, the contemporary artists like Xu Bing and Gu Wenda are aware of that their viewership is not limited within the Chinese context, but it extends to the global community. Thesis statement: The comparison of the Chinese artists named as Xu Bing and Gu Wenda, based upon their life, career and work, proves that both of them share certain similarities within their life and career, but their artworks prove that Xu is interested in combining traditional art with modernity, but Gu is interested in going beyond traditional art by making use of the elements of modernity. Comparison: Xu Bing and Gu Wenda This section is broadly divided as: Life, Career, and Work. Life Xu’s life (say, this artist was born in the year 1955) represents the modern/contemporary art within China. Besides, he was born in a major city area in China, named as Chongqing. But his family was forced to relocate to Beijing and this helped this artist to be in touch with metro life. Ann MacArthur stated that, “Xu Bing. a leading figure in the international art world, was born in China and now lives in America” (2006). But the Cultural Revolution deeply influenced this artist’s early years of life because he was forced to relocate to village areas for service. Later, he was able to return to metro life. Here, he decided to mold his future career by enrolling himself as a student at the CAFA. In the year 1987, he was able to receive MFA. Within scenario, his major subject (say, printmaking) deeply influenced his future career and usage of medium in art. At the same time, he was not ready to yield to the strict laws implemented by the authorities. This is evident in his works related to political criticism. So, he was forced to migrate to US and this helped him to gain international attention. Still, he was not ready to forget his motherland because he returned to his motherland in the year 2008. But Gu’s early life was comparatively different from Xu’s life. But both of them were born in the year 1955. One can see that Gu was born in an upper middle class family consisting of bank employees, musicians, and painters. So, it is evident that this artist got enough exposure to art within his early years of life. Still, Cultural Revolution affected this artist’s personal life because his close relatives were forced to undergo government inspection and some of them were asked to serve in faraway villages. Besides, this artist decided to serve his motherland by serving at the Red Guards. On the other side, his interest in language and calligraphy forced him to simplify his mother tongue with the help of calligraphy. In addition, he decided to gain mastery in painting. Still, he was totally against traditionalism in art and his works are symbolic of the same. In 1980s, he decided to conduct a series of exhibitions and projects, rejecting traditionalism. But this artist decided to migrate to US, in the year 1987. This forced migration maybe due to political reasons, but this artist knew that his motherland will not accept his artistic creativity. So, it is evident that both the artists share some characteristics, but are different in taste and attitude towards modern art in China. Career: One can see that Xu’s upward mobility within his career is interconnected with his genuine interest in art. For instance, his higher education in art helped him to mold his career. As he moved to the US, his career as an artist began to develop because it helped him to unleash his creativity without any limitation. For instance, he was able to conduct a number of exhibitions and installations related to his art. Besides, he did not try to limit his career within art. For instance, he was keenly interested to connect art with language. So, one can see that Xu’s decision to combine education and genuine interest in art helped him to have a successful career. On the other side, one can see that Gu started his career as a Red Guard. Still, he did not show any special interest in continuing his service. For instance, his genuine interest in art forced him to go beyond traditional mode of art. Deborah Davis stated that, “Gu Wenda, a painter with technical facility in traditional Chinese painting, tried in the past to use modern Western forms to remold traditional Chinese ink painting” (261). Besides, he started his artistic career as an experimental artist. To be specific, he made use of different objects to unleash literary creativity and to develop his career. Besides, he showed keen interest in developing his artistic career with the help of different objects. So, one can see that his interest in calligraphy and the usage of language in art proves that he was aware of the fact that traditional methods within art cannot help him to develop his profession. Work: Xu After returning to his motherland in the year 2008, Xu came to realize that his society did undergo rapid change. To be specific, the Chinese society in 2000s was entirely different from 1990s. This unexpected change deeply influenced the artist because he did not expect such change in a traditional society. The artwork named as Background Story 7 (2012) (See Appendix-1) is symbolic of the artist’s change in opinion on his society. To be specific, this artwork signifies the traditional Chinese art. On the other side, this artwork is symbolic of the artist’s interest in experimentation with different natural objects like leaves, reeds etc. From a different angle of view, the artist amalgamated modernity within the context of traditionalism. For instance, the artwork does not break the traditional outlook of Chinese art. But, the medium and the objects used within the artwork are modern, based upon the artist’s taste. Similarly, the giant installation/project by the artist, named as Phoenix Project (2007-2010) (circa. 2013) (See Appendix-2) is symbolic of the artist’s perception of the consequences of change in his motherland. To be specific, one can see that rapid progress based upon industrialization deeply influence the Chinese society. Besides, the government provides ample importance to progress, but ignores its consequences on the mass. Only some people related to the elite class are able to enjoy the benefits of industrialization. But others, including the working class, are not allowed to enjoy the benefits of development. This wide gap is portrayed in the artwork because the artist is aware of his role in creating awareness on the drastic effect of materialistic way of life. In the artwork, the giant bird is symbolic of development. But when one goes closer to the artwork, it is evident that waste and useless objects are used to construct the giant installation. To be specific, the artist tries to prove that the poor people are victimized by the rapid development in his society. So, it is evident that the artist’s recent works are based upon social criticism, aiming to create awareness on the problems related to culture and political lobbying within industrial sector. Gu The artwork named as United Nations- china monument: the great wall of people (see Appendix-3) by the artist commissioned in the year 2004, is symbolic of the artist’s interest in unity and the usage of unusual materials to communicate with the international viewers. To be specific, the artist collected human hair to develop this artwork. For instance, the bricks and the hanging curtains in the artwork/installation contain human hair from different nations. One can see that the artist depends upon unusual objects to prove that unity-disregarding differences-is important for the international community to move towards development. Still, the Chinese society is not against the usage of unusual objects in art and its different genres. For instance, calligraphy is an integral part of art in the artist’s motherland. Besides, So, the artist tries to prove that mere copying of traditionalism cannot help art to survive in the modern age. Instead, artists must try to understand the basics of traditional art in different cultural contexts and must try to go beyond the same. Similarly, the artwork named as Mythos of Lost Dynasties Series 15 (See Appendix-4) (2005) is symbolic of the artist’s interest in going beyond traditional art. Besides, this artist provides ample importance to large-scale installations based upon different ideas. Still, the inherent theme is related to the human urge to go beyond cultural boundaries. If the viewer is not aware of the importance of calligraphy and ink within the traditional mode of art in China, it is difficult to perceive or interpret some of the artworks by this artist. The aforementioned artwork is symbolic of the fact that one’s culture and language is not important to enjoy an artwork. Still, some people consider that this artist’s works are so difficult to understand. To be specific, this artist makes use of Chinese alphabets in his artwork. If one does not know Chinese language, it is difficult to perceive the hidden message and meaning of the artwork as a whole. Still, the artist’s genuine interest in art and urge to absorb modernity transforms his works from mere paintings and installations into masterpieces with hidden messages in general. Summing, the comparison between Xu Bing and Gu Wenda proves that their lives are will certain similar elements because their families were victimized by Cultural Revolution. This is important because the government’s attempt to discard traditionalism and to drag the society towards modernity did not benefit the mass. Besides, both the artists were aware that traditionalism cannot help them to gain international acclaim as artists. So, they decided to go beyond their national boundary, but returned to feel the presence of modernity in their society. From a different angle of view, Xu is career centric and he values the importance of the influence of traditionalism in art. On the other side, Gu considers that art is a medium to indulge in experimentation with different objects. In addition, their artworks prove that mere traditional modes within art cannot help genuine artists to unleash artistic creativity and to communicate with international viewers with difference in taste. In short, the comparison proves that genuine artists consider that it is difficult to act according to the taste of traditional art because the same discards authenticity. Works Cited Davis, Deborah. Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China. New York: Cambridge University Press, 1995. MacArthur, Ann. Inspirations: Art Ideas for Primary and Middle Years. N.p. Curriculum Press, 2004. Print. Appendices Appendix-1 Background Story 7 Appendix-2 Phoenix Project (2007-2010) Available at: - https://www.pinterest.com/ellieyam/xu-bing-the-phoenix-project/ Appendix-3 United Nations- china monument: the great wall of people Available at:- http://www.wendagu.com/home.html Appendix-4 Mythos of Lost Dynasties Series 15 Available at:- http://www.themuse.com.sg/2014/01/between-tradition-and-modernity-the-experimental-works-of-gu-wenda/ Read More