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• Lot n° 154 Wang Guangyi (b. 1957) "Warhol" Oil on canvas Signed and dated on a poster affixed to the frame's backing paper: Wang Guang Yi / 2011; also variously inscribed in Chinese characters, presumably including the artist's name, and with sketches of wine bottles, all on the same poster as already mentioned; titled as part of the image 26" H x 22" W Provenance: The artist The Grace Family Collection, St. Helena, California Other notes: Wang Guangyi is a prominent contemporary Chinese artist best known for his role in the Political Pop art movement that emerged in the late 1980s when China was undergoing vast political, social, and cultural changes. Wang was born in 1957 in Harbin, China, into a working-class family, and trained at the Zhejiang Academy of Fine Arts, where he was deeply influenced by Western philosophy and Classicism. After graduating in 1984, Wang was a founding member of the Northern Art Group that promoted the concept of "Rational Painting," an analytical approach to artmaking known for a geometric visual language stripped of human emotion. In contrast to the expressive styles of many of his contemporary painters, Wang's series from this period, including "Frozen North Pole" and "Post-Classical," are austere depictions of geometric compositions, with Western Classical masterpieces appropriated into the latter series' imagery. His 1989 series of five paintings, "Mao Zedong: Red Grid," was the first time Wang received international acclaim. Appropriating iconic images of Mao superimposed with English letters on a red grid, this series is considered Wang's first Political Pop artworks and began a decades-long exploration of socialist iconography set against consumer culture. The artist's iconic "Great Criticism" series further politicized his imagery with juxtapositions of Chinese Communist propaganda with Western Pop Art and consumer brand logos and icons. Often compared to Andy Warhol or Robert Rauschenberg (both artists visited China in the 1980s), Wang's compositions create visual collisions between Communist ideologies and Capitalism and Globalization. Created in the 1990s and early 2000s, the series juxtaposes propaganda-style figures, often modeled after Cultural Revolution-era posters, with logos of global brands like Coca-Cola, Nike, and Pepsi. In these works, Wang exposes the parallels between political propaganda and advertising, suggesting that both rely on simplified messages and emotional manipulation to exert control. The series serves as a powerful commentary on the rapid transformation of Chinese society in the post-Mao era, reflecting on how ideological fervor has been replaced, or perhaps mirrored, by the forces of globalization and capitalism. Throughout his career, Wang has maintained a critical stance on the use of imagery and mass communication. His art invites viewers to reflect on how meaning is constructed through repetition and symbolism. By appropriating familiar visuals and altering their contexts, Wang exposes the mechanisms of control and persuasion behind both state and corporate messaging. Today, he remains a vital voice in the global contemporary art scene, representing a generation of Chinese artists who challenge and redefine cultural narratives.