王大宙原任教于上海大学美术学院。1985年赴美国，先后就读美国纽约州立大学Albany大学（State University of New York，University Center at Albany）的M.F.A.学位和普瑞特学院（Pratt Institute）工业设计的M.I.D.学位。2003年受邀筹备创建了华东师范大学设计学院，并被聘为首任院长，终身名誉院长，教授、研究生导师，上海市欧美同学会文化艺术与创意产业协会执行会长。
Wang Dazhou, originally a professor at the Shanghai University College of Fine Arts, left in 1985 for the United States to pursue graduate studies in the fine arts and design. He received both a Masters of Fine Arts from the State University of New York, University Center at Albany and a Masters of Industrial Design from the Pratt Institute. After serving as Tianjin Science and Technology University’s Dean of Art and Design, he was invited by East ChinaNormal University in 2003 to formulate the School of Art and Design where he served as head of the preparatory group. Once the School of Design was established in 2004, he was appointed Founding Dean of The School of Design at East China Normal University. Professor Wang is now a lifetime honorary president and professor at the School of Design East China Normal University. In addition, he serves as a Visiting Professor to Montclair State University, California State University at Stanislaus, and The Shanghai Theatre Academy. In addition, he also serves as a Director of The Shanghai Industrial Design Association, Shanghai Science and Art Association, Deputy Director of the Committee of experts, Shanghai Creative Industry Association, Director of Board of Trustee and Board Member of New York State Suffolk County Asian-American Advisory Board, U.S. Business and Education Council.
王大宙1978年曾担任上海市工人文化宫话剧“于无声处”舞台美术设计，获得中国文化部奖及中国总工会奖、1979年曾主持建国三十周年《上海工业展览会》展览设计。1990年为美国MTV主持“超人”项目设计，获得“Best Design Achievement for Superman from MTV”奖。1990年至今，为Disney，MTV，Georgette Klinger，Charles Jordan，Victoria’s Secret，Estee Lauder，Revlon，Clinique，Guess，Brooks Brothers，Paul Sebastian，Crown Crafts，Mohawk and Nielsen Bainbridge等著名公司主持，开发与设计了多个项目；也曾与Donna Karan，Alexander Julian，Calvin Klein，Betsey Johnson and Mary Engelbreit等世界著名设计师合作，开发设计项目涉及纺织品、礼品、化妆品、及家居用品等领域的多项产品。
In 1978，Professor Wang joined the Shanghai Workers Cultural Palace as a stage designer and was awarded in 1979 by the China Ministry of Culture and the Chinese Federation of Unions Award for his stage design in the drama, "Yu Wu ShengChu." Soon after, he was transferred to the Shanghai Industrial Exhibition by the Organization Department of Shanghai for designing the Shanghai Industry Exhibition. In1990, Professor Wang’s lead in the design project labeled “Superman” achieved the “Best Design Achievement for Superman” awarded by MTV. Since 1990, Professor Wang has partnered with prominent corporations such as Disney, MTV, Georgette Klinger, Charles Jordan, Victoria's Secret, Estee Lauder, Revlon, Clinique, Guess, Brooks Brothers, Paul Sebastian, Crown Crafts, Mohawk, Orvis and Nielsen Bainbridge to develop and design numerous projects. In addition, he has also collaborated with many eminent designers such as Donna Karan, Alexander Julian, Calvin Klein, Betsey Johnson, Ralph Lauren, and Mary Engelbreit in product development and design. Products involved textiles, giftware, cosmetics, ceramics, glassware and various home accessories.
1980年至今，其作品多次在国内外展出及被多家博物馆美术馆收藏，并多次获奖， 2012年在上海美术馆举办了“王大宙生物艺术展”，将生物艺术这一新观念首次介绍到中国。王大宙生物艺术被美国耶鲁大学、普林斯顿大学、斯坦福大学、芝加哥大学等十多所大学收藏。其《设计创意流程》，《风格与潮派》和《设计弹性思维》等着作被列入国家出版文化创新工程重点专桉。中国上海世博会“城市馆”、“城市足迹馆”设计总顾问，中国艺术设计大赛组委会委员、评审， 2012年王大宙荣获纽约州长Andrew M. Cuomo颁发的2012年度纽约州艺术成就奖，也荣获萨福克郡郡长Steven Bellone颁发的艺术成就奖及纳萨郡郡长Edward P. Mangano颁发的杰出艺术贡献奖。2016年荣获美国Hofstra大学颁发的艺术成就奖。2017年荣获纽约市颁发的杰出艺术贡献奖。
Since 1980, Professor Wang’s works of art have been featured around the world including various exhibitions in China which received numerous awards. In addition, numerous pieces have been published in “Contemporary Chinese Art “and “Artin China”. In 2012, Professor Wang hosted a one-man Art Exhibition“Auto-Clinic” at the Shanghai Art Museum, he introduced the new concept of bio-art to China. Professor and his bio-art works were collected by over ten universities such as Harvard, Yale, Princeton, and Chicago University. Wang’s books, “Design of the Creative Process”, “Style and Genre”, and “Elastic Design Thinking”, have all been included in the National Key Project of Publishing Works of Cultural Innovation. In May of 2012, Professor Wang received awards from New York State Governor Andrew M. Cuomo, Executive Officer of Suffolk County Steven Bellone, and the Executive Officer of Nassau County Edward P. Mangano. In 2016, Professor Wang received awards from Hofstra University. In 2017, Professor Wang received awards from New York City.
The Shanghai Art Museum’s presentation of “Bio-Art” an Exhibition that speaks through the fresh prism of Artist Wang Dazhou, which codifies a new world order for consideration, exemplifies the evolving world of contemporary art. It is a reminder to us all that we must continue to pay attention to the societies we build and destroy, inhabit, and abandon. At the heart of Wang’s statement is the monumental quest to embrace humans as creators. This he presents to the public from an array of artistic expressions spanning installation to canvas, to time-based media and performance — and back again, while providing the public with a provocative visual question for consideration. Man’s desire to create life, extend life, and modify the many forms that life takes, is ongoing and filled with moral, social, and practical issues to consider. Having the ability to be creators, the question remains — should we? That he has chosen the loaded topic of “creation” reflects a willingness to walk the tightrope of the societal, ethical, and philosophical debate of our time — without a net.
Wang Dazhou questions the future through the visual representation and performance of elements/experiences merging technology, industry, biology, art and design and life's very creation — all human endeavors, mostly — the latter, “creation” remains the fuel the stokes the flames of an argument tethered to grand and lofty visions of ethics and humanity. This body of work is his gift, an addition to the ongoing dialogue of humanity through all the things attached to the very core of that humanity: nature, science, creative expression and the ability to create life, ostensibly as we know it today, and as we have yet to know it in the years to come.
Having the privilege of witnessing the growth [on a modest scale] of the amazingly diverse paths that contemporary art in the new China has taken over the past decade first hand — my objectivity may still be deadened by the concussion of the first blast. Perhaps, albeit unfairly so, much of the work over that decade harkens familiar visual voices of the west — in spite of breakthrough artists like Zhang Xiaogang and Xue Song two very different artists, both creating imagery resonating from places (and processes) heretofore unfamiliar. Xiaogang’s enigmatic and compelling large canvases from the “Family” series as well as his more recent work, which departs from the figure as the central focal point in his work remains at the forefront of that aforementioned vanguard. Xue Song continues to work in Collage exploring the limits of image manipulation, subversion, and appropriation — creating works driven by various images of popular culture, old and new China as well as the new global society many believe the PRC is destined to lead.
Dazhou Wang has taken the bold step of “self-redefinition” as a relatively new player to a continually growing field of contemporary artists that compel thoughtful observation and dialogue. The spirit spoken of here — that of redefinition — is manifest in the broad realization of the exhibition that began with “Auto Clinic,” which reaches far beyond the metal, flesh and blood surface juxtaposed to man-made objects, consumerism and their fusion with technology, industry, nature and art as imagined across the many mediums used in the realization of the exhibition. Under the hoods and behind the grills of Wang’s autos and reach as a visual interpreter of the evolving society we inhabit are reflections of the many dualities — including those central to today’s China, as well as his very personal experiences in the west. Of particular interest to the artist and a central theme running through these exhibitions is the role of biotechnology and its impact on society.
Wang’s reach as a visual thinker, exemplified in this timely presentation, echoes his point of view as a contemporary artist well versed in the history of both fine art and design — and as important, in professional practice and higher education, where the kind of provocative query this exhibition ignites is commonplace.
Wang’s work embraces the dialogue [ongoing] of human existence and behavior in a compelling and uncomfortable way. His automobiles serve as visual/vehicle metaphors, along with its fusing of the flesh, they transport this viewer much like Francis Bacon’s use of the crucifix, which allowed for exploration of certain kinds of human behavior. The artist leaves much room for the viewer to decide the destination — if they are willing passengers — I suspect riding shotgun on a journey with a driver whose foot is pressed firmly and relentlessly on the gas pedal of possibility. Wang’s primary object in these visualized statements, are reflective of the new global society we inhabit, transcending boundaries of status and class across the globe creating the lives that we desire to live. They are the objectification of biological art and design across the many mediums, which include science and technology — from artificial intelligence to artificial life, Wang Dazhou attempts to fold back the eyelids of the masses — “eyes wide open” to the realities of the new world order.
This is a new dialogue of culture, style, environment and language systems brought to us through the eyes and hands of the artist — the creation and delivery of a new system, which speaks to human interaction in a new language, inherent on the walls of the Bio Art exhibit. That this new system is delivered through traditional, digital and other contemporary modalities of presentation is apropos to our times and mirrors the broad experiences and background Wang utilizes to springboard his visual expression that questions and explores human existence and our ability to create life, while fusing science, technology, nature, and art and design.
It is from the perspectives spoken of here that Dazhou Wang is daring us to take a closer look, at his work — in the broad visual language he has employed bringing this exhibition to the public, as well as to the possibilities and implications of Bio-Art and Design. He is daring us through the manipulation of familiar imagery to consider this new voice in a different context. He implores the viewer to do so using the artifacts of the modern daily and scientific world we traverse. In fact, that would be decidedly, a “Double Dare” worth the risk of taking.
Daryl Joseph Moore | FRSA
California State University, Stanislaus
The College of the Arts
编辑：Cindy & Mary
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