Wang Huangsheng 王璜生

Overview

Wang Huangsheng (b. 1956, Shantou, Guangdong Province, China) is a distinguished artist and scholar with special allowance of the State Council in China. With a doctorate in the History of Art from Nanjing Art Institute, Wang has held numerous prestigious positions as a museum director and academic leader in the field of fine art and contemporary art. He was the Director of Guangdong Museum of Art from 2000 to 2009 and the Director of the Central Academy of Fine Arts Museum from 2009 to 2017.

 

He is currently the Professor at Central Academy of Fine Arts, a member of the Academic Committee, Chief Director of Guangzhou Academy of Fine Art Museum, Director of the Center of New Art Museum, Deputy Director of the Curatorial Art Committee of the Chinese Artists Association and a specially-appointed professor at the University of Heidelberg, Nanjing Art Institute, Central University for Nationalities and City University of Macau.

 

In 2004, he was awarded the Knight Medal of Art and Literature by the French Government and in 2006 the Knight Medal by the President of Italy. In 2013 he obtained the "Beijing Best Educator" award from the Beijing government.

 

He is founder of Guangzhou Triennial, Guangzhou Photo Biennale, CAFAM Biennale, CAFAM Future Exhibition and Beijing Photo Biennale. He has been a member of the judging panel at the Kwangju Art Biennial, Olympics in Vision, Greece, the Chinese Contemporary Art Award, and the Venice Biennale China Pavilion.

 

Wang's works are held in the collection of the British Museum and the Victoria and Albert Museum in London, the Ashmolean Museum in Oxford, the Uffizi Gallery in Florence, Mantova Museum in Mantua, Hoffmann Collection in Berlin, and have been shown in many galleries in China, Europe, Australia and in the United States.

 

Wang's contemporary vision is rooted in his past. Wang's father is a painter and calligrapher of the Literati movement. One can sense Wang's formal training in the quality of his lines, the way the ink ebbs and flows in varying saturations across the paper, reminiscent of Chinese calligraphy. He honours and establishes a foothold in tradition, but finds self-expression in a fluid, unrestrained yet controlled touch that evokes both physical and metaphysical depth, often with a single extended gesture.

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