Ai Weiwei Research Paper

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Ai Weiwei was born during the Cultural Revolution in China of 1950s, he inherited a lot of his political knowledge from his father who was a poet called Ai Quig. Ai Quig was then later exiled with his family to re-education camps on the out reaches of a desert in 1958 for questioning government authority. After the Cultural Revolution, Chinese citizens were allowed to travel outside their borders again in 1970s. As a young man, the place that Ai Weiwei dreamed about going to was New York. He went to New York and was exposed to its western influences, its liberty and freedom of expression (Springford, 2011).Using photography Weiwei recorded and documented everything that inspired him. Weiwei visited galleries and art museums that exposed him to the world of conceptual art, becoming influenced by Andy Warhol and Marcel Duchamp. Ai Weiwei admired the ways of artists who could simply proclaim what was art and what wasn’t art, how Duchamp questioned art and when something gets to be art (Springford, 2011).Ai Weiwei came back to China in 1993 to take care of his sick father, and found himself drawn to his responsibility as an artist, to take the task of re-awakening his country through his art and to expose his thoughts on the corrupt and controlling nature of China’s government (Philipson,2012). Ai Weiwei has always been an outspoken artist. In the course of his art making, Weiwei has used a form of activism in his art, with political ideologies that exist because of the Chinese government. He also uses a sense of memory and the countrys past and history. Most of his art involves the public and their outlook of the government. Weiwei requests engagement from the public as a show of protest in his artworks (Harris & Zucker, 2009). When...

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...mall town of Jingdezhen, the seeds were hand crafted and hand painted by local Chinese artisans in their workshops. Ai Weiwei employed these artisans to create these seeds from Jingdezhen’s finest porcelain which once provided porcelain to the Chinese imperial court. The work uses porcelain to symbolize one of China’s most historically prized exports. The seeds create a landscape of about 4 inches deep, and can crunch under foot, similar to a pebbled beach. The seeds could symbolize the multitude of the Chinese population, the element of mass production and the irony it holds by each seed being handmade. The sunflower seeds could symbolize the memory of poverty in China that was a result of the changes during the Cultural Revolution. It creates a sense of personal identity from the notion of using 100 billion individual seeds being individually made (Redzisz, 2011).

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