GU WENDA (B. 1955)
GU WENDA (B. 1955)

Gu's Phrase Stone Steles #6: Yi Shu Ai Lian

细节
GU WENDA (B. 1955)
Gu's Phrase Stone Steles #6: Yi Shu Ai Lian
Scroll, framed
Edition 49/50
Ink rubbing on paper
179 x 97 cm. (70 1/2 x 38 1/8 in.)
Executed in 2008
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GU WENDA (B. 1955)
Selected exhibitions
2013 The Metropolitan Museum of Art, New York, USA (group)
2011 Ullens Center for Contemporary Art, Beijing, China (solo)
2010 Solomon R. Guggenheim Museum, New York, USA (group)
2009 Shanghai Art Museum, China (group)
2008 Asia Society and Museum, New York, USA (group)
2006 Hong Kong Museum of Art, Hong Kong (solo)
1999 San Francisco Museum of Modern Art, USA (solo)
Asian Art Museum of San Francisco, USA (solo)

Notable collections
British Museum, London, UK
The Boston Museum of Fine Art, USA
Museum of Modern Art, New York, USA
San Francisco Museum of Modern Art, California, USA
Solomon R. Guggenheim Museum, New York, USA

Gu Wenda studied at the Shanghai School of Arts and Crafts and later received his master's degree from Zhejiang Academy of Fine Arts in 1981 under the tutelage of great modern painter Lu Yanshao. In 1987, Gu moved to the United States and since then he held numerous teaching positions and affiliations with institutions such as the University of Minnesota and Cooper Union, and has dedicated his time to creating ink paintings, large scale installations, and other art and design related projects.
Gu Wenda was a true rebel among his fellow classical paintings classmates. His inspiration stemmed from the big, miswritten characters on propaganda posters used during the Cultural Revolution, hence the creation of his pseudo-Chinese script which remains the main idea of his artistic direction. Gu attempts to explore the limitations and possibilities of Chinese language and writing and transforms the role of calligraphy in traditional landscape compositions.

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Inspired by his pseudo character series a decade earlier, Gu Wenda began to develop a practical and applicable way to form meaningful phrases by combining two or more characters into one in the 1990s. Using the traditional method of ink rubbing, Gu worked with expert craftsmen to have steles quarried and polished; they then engraved Gu's calligraphy carefully following the nuances of his brushworks. To create the rubbing, a moistened paper was laid on the stele and pressed onto the engravings. Once the paper was dried, a soft pad soaked with ink was tamped on the surface, so that the cavities would not be stained with ink and the engraved calligraphy was clearly shown in white against was a black background.

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