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dc.contributor.advisorCaroline A. Jones.en_US
dc.contributor.authorWong, Winnie Won Yin, 1978-en_US
dc.contributor.otherMassachusetts Institute of Technology. Dept. of Architecture.en_US
dc.coverage.spatiala-cc---en_US
dc.date.accessioned2011-03-07T15:14:23Z
dc.date.available2011-03-07T15:14:23Z
dc.date.copyright2010en_US
dc.date.issued2010en_US
dc.identifier.urihttp://hdl.handle.net/1721.1/61556
dc.descriptionThesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.en_US
dc.descriptionCataloged from PDF version of thesis.en_US
dc.descriptionIncludes bibliographical references (p. 394-418).en_US
dc.description.abstractSince 1989, Dafen village in Shenzhen, China, has supplied millions of hand-painted oil-on-canvas paintings each year to global consumer markets. Accused of copying Western masterpieces, and spurred by the Chinese party-state's creative industry policies, Dafen village's eight thousand painters have been striving to become original artists. Simultaneously, conceptualist artists from outside Dafen village have engaged with the creative alienation of Dafen painters, by purchasing their labor in works of appropriation art. This study examines the discourses of creativity, originality, and appropriation that frame Dafen's painting production, and sets them against an ethnography of flexible work in the South Chinese painting trade. It explores the myriad ways in which Dafen village lends itself to intellectual and aesthetic explorations of the separation of painting labor from conceptual labor, as enacted in both modernist and postmodernist framings of artistic authorship. The study begins by charting the historical categorization of Chinese "export painting" and the emergence of the "painting factory" as a cultural imaginary of Sino-Western trade. It then examines the political stakes of "creativity" as constructed in Dafen television propaganda made by the national and local party-state. Then, turning to a single Vincent van Gogh-specialty workshop and the transnational wholesale and retail of van Gogh trade paintings, it theorizes the relationship of "craft" to modernist authorship and signature style. Finally, it scrutinizes cosmopolitan conceptual artists' and designers' collaborations with Dafen painters, exploring the ethical and aesthetic terms of universal creativity raised by the Dafen "readymade." Establishing continuities between Dafen production and the making of "high" art while challenging their putative antinomies, this study shows how the ideology of individual creativity undergirds the cultural industry policies of the local party-state, the consumer demand for authentic craft, and the appropriation of labor in contemporary art.en_US
dc.description.statementofresponsibilityby Winnie Won Yin Wong.en_US
dc.format.extent418 p.en_US
dc.language.isoengen_US
dc.publisherMassachusetts Institute of Technologyen_US
dc.rightsM.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.en_US
dc.rights.urihttp://dspace.mit.edu/handle/1721.1/7582en_US
dc.subjectArchitecture.en_US
dc.titleAfter the copy : creativity, originality and the labor of appropriation : Dafen Village, Shenzhen, China (1989-2010)en_US
dc.title.alternativeCreativity, originality and the labor of appropriation : Dafen Village, Shenzhen, China (1989-2010)en_US
dc.title.alternativeDafen Village, Shenzhen, China (1989-2010)en_US
dc.typeThesisen_US
dc.description.degreePh.D.en_US
dc.contributor.departmentMassachusetts Institute of Technology. Dept. of Architecture.en_US
dc.identifier.oclc703166058en_US


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