228:(1997) were created using mixed-media, including installations. He installed a sepia-colored portrait of a girl based on photograph taken at a photo studio, in a small dark room. The expressionless young girl posed properly with her hands cupping her breasts, hiding her identity by wearing a pair of retro sunglasses. The picture frame was decorated with light bulbs and fake flowers. As a viewer stepped into the room, a pop song from the 1950s called "Happy Sailing" would suddenly start playing, and the light bulbs started flickering along with the rhythm. The 1950s was an important decade for Wu as it symbolized the time when Taiwanese identity was integrated in a flash moment after centuries of colonization.
239:(2002) is metaphorical as Wu explained that "the belief of Buddhists and Taiwanese people in karma lies behind that artwork." In Wu's work, four paddlers are on a dragon boat with an overcasting sky in the background. Each man resembles a clown as they have white painted faces and wear bright yellow overalls. Their feet are sticking out from the bottom of the boat, trying to maintain balance using wooden shoes that are used in Chinese traditional circus.
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Taiwan (2011, 2010); the Soho Photo
Gallery, New York, New York (2010); the Hong Kong Art Centre, Hong Kong, China (2010); Eslite Gallery, Taipei, Taiwan (2010); National Museum of Fine Arts, Taichung, Taiwan (2009); the National Art Museum of China, Beijing, China (2009); the Taipei Cultural Center, New York, New York (2008); and MOMA Contemporary, Fukuoka, Japan (1997).
208:. Each of these large-scale paintings is almost four meters in width. In the portraits, Wu boldly portrayed people's struggles and oppression, and depicted them inside the torsos of the former rulers. By juxtaposing the portraits of the mainland Chinese and the Taiwanese former rulers, Wu intended to generate a new dialogue for the future.
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By 2000, Wu's medium shifted from oil painting to digital photography. Wu said, "Before I take a single photograph, I do a rough 3D mapping-out on the computer. I take everything into account right down to the finest details, like the facial expressions, the movement of clothing in the wind and the
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Wu's work has been shown internationally, including at the Museum of
Contemporary Art, Taipei, Taiwan (2014, 2009); Tina Keng Gallery, Taipei, Taiwan (2013) and Beijing, China (2012); Taipei Fine Arts Museum, Taipei, Taiwan (2011, 2009, 1990, 1987); the Kaohsiung Museum of Fine Arts, Kaohsiung,
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were a brutal reality. The lifting of martial law in 1987 created a drastic change in
Taiwanese society, which brought democracy as well as secured freedom of expression. Wu's critical view on socio-political issues grew significantly during this era of turmoil.
130:. His grandfather emigrated to Taiwan from mainland China where he married Wu's aboriginal Taiwanese grandmother. Wu's parents moved to Keelung and worked in a movie theater where his father painted posters and his mother sold tickets. He grew up in Taiwan where
274:, and selected as one of the artists to represent Taiwan at the 47th International Art Exhibition of the La Biennale di Venezia (1997) and exhibited as a solo artist for the 56th International Art Exhibition -
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at the time, and interpreted the style based on
Taiwanese experience and aesthetics. The 101 Painting Society also aimed to challenge the minimalism style which was prevailing in Taiwan at the time.
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visual path a viewer will take when perusing the work." Wu's digital photography imitates portrait studio backdrops and vintage posters, using themes from
Chinese myths, folklore, and religion.
328:
Joan Lebold Cohen, "Art and
Politics in China and Taiwan: Ai Weiwei and Wu Tien-chang," Modern China Studies 18.2 (2011):83-99, accessed 25 February 2013.
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Wu had been included in many group exhibitions since he finished his education in 1980. After seven years, he was invited to have his solo show at the
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paintings depicted taboos and sensitive subjects that addressed political issues in his early career. Wu's exhibition of
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Wu's work delves deeply into
Taiwanese identity as he attempts to reveal its hybrid nature. For the series of
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in 1980. Two years later, he became one of the founding members of the 101 Painting
Society along with
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Contemporary Art in Taiwan after 1987: On the
Evolution of Four Cultural and Artistic Tendencies
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who makes socio-political commentary work through oil painting and digital photography.
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Wu's theme began to explore social issues based on Taoism, Buddhism, and karma.
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Wu has also been included in the 1st
Fukuoka Asian Art Triennial (1999) at the
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restrained the society with censorship, and threats of violence from the
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2009 The Jury's Special Awards of The 7th Annual Taishin Arts Awards
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504:"Wu Tien-chang's digital artworks seek the essence of Taiwan's soul"
347:"The Aesthetics of Between-ness: Contemporary Artist Wu Tien-chang"
220:(春宵夢 1994-), he aimed to evoke nostalgia of the past era.
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consisted of four large paintings of political leaders
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Show the Mutual Concern of the People in the Same Boat
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1998 Won Creation Award of Lin Chung-Shun Foundation
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293:1994 Prize of Taipei Biennial of Contemporary Art
296:1986 New Trend Prize of Contemporary Art Trends
377:. University of California Press. p. 169.
486:Encyclopedia of Twentieth-Century Photography
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554:"A view from the inside: Taipei's art scene"
270:, 2nd Asia Pacific Triennial (1996) at the
529:. LAMBERT Academic Publishing. p. 23.
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552:Chung Tang Yen, Jason (11 January 2019).
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488:. New York: Routledge. p. 278.
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457:Buchan, Noah (19 November 2008).
585:Taiwanese contemporary artists
502:Chen, Yali (14 January 2011).
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374:Inside Out: New Chinese Art
159:, which was flourishing in
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345:Lin, Eric (October 2011).
222:A Dream of Spring Night II
149:Chinese Culture University
147:Wu received a B.F.A. from
88:Chinese Culture University
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425:Fukuoka Asian Art Museum
268:Fukuoka Asian Art Museum
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595:Taiwanese photographers
525:Fang, Chung-Yu (2010).
421:"Dreams of Past Era IV"
249:Taipei Fine Arts Museum
218:A Dream of Spring Night
190:Taipei Fine Arts Museum
155:. They aimed to import
126:Wu was born in 1956 in
16:Taiwanese visual artist
484:Warren, Lynne (2005).
405:Clarke, David (2019).
276:La Biennale di Venezia
272:Queensland Art Gallery
459:"Replacement culture"
447:, p. 216–217n18.
371:Lu, Victoria (1998).
407:China—Art—Modernity
253:Syndrome of Hurting
212:Digital Photography
590:Taiwanese painters
182:Neo-expressionist
157:Neo-expressionism
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78:Bachelor's degree
68:Republic of China
46:28 September 1956
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605:1956 births
508:Taiwan News
445:Clarke 2019
243:Exhibitions
224:(1995) and
153:Yang Maolin
132:martial law
64:Nationality
579:Categories
563:6 November
390:7 November
384:0520217470
356:7 November
313:References
202:Mao Zedong
136:Kuomintang
122:Early life
94:Occupation
42:1956-09-28
257:Four Eras
186:Four Eras
74:Education
469:24 March
430:23 March
301:See also
278:(2015).
259:series.
176:Painting
163:and the
540:Lu 1998
108:Chinese
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282:Awards
204:, and
161:Europe
143:Career
110::
57:Taiwan
180:Wu's
171:Works
565:2021
471:2023
432:2023
392:2021
379:ISBN
358:2021
36:Born
112:呉天章
30:吳天章
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226:IV
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