Interpretation Of Wang Guangyi Chinese-style Pop Art

Pop art first appeared in the 1950 s in the UK, but the peak of its developm ent in the mid- 1950 s, but it is a strong business atmosphere in the United States, is one of the most influential artistic movements of the 20 th century. "Father of Pop Art " Br itish artist Hamilton, the first piece of a collage of photos from the Pop Art works- "We live today why it is so dif ferent, so glam orous," the them e to th e popular culture, as readymades means of expression, and led the creation of a new artistic trend, wh ich now use the finished ef fect on Ch ina ’s most important contem porary art of China ’ s " Pop Art " form ed in the early 1990 s, is on the rise in the 1950 s W est " Pop Art " creative imitation. As one of the early e xperimenters Wang Guangyi Chinese pop art, which also became the first po litical pop sin ce the real world of m odern Chinese art movement Wang Guangyi ’ s paintings experien ced different periods of transition after the early 1990 s into the "big criticism " in the experimental stage. This approach has the empirical critique of power throughout the entire creative Wang Guangyi in the 1990 s, especially in the " Great Criticism ", the artist directly to Chinese "Cultural Revolution " in the political posters and W estern cons umer advertising, these two com pletely different nature the juxtaposition of im ages on the screen, by way of clever language processing, to achieve a certain sarcasm and digestion purposes.This paper analyzes the background of W ang Guangyi ’s pop art form language of symbols, as well as in-depth analysis of the article as a starting point the work of Wang Guangyi ’s " Political Pop " in a globalized consumer society and the dom estic context of contemporary art seeking identity strategic thinking, and finally from the art market artificially manipulate the symbols of these two aspects of the damage Wang Guangyi ’s " political Pop " for reflection.