Prof. Anita Yan Wong, M.F.A.
Asian American artist, Art Educator
pseudonym: 大白菜
Archived by:
AAA.org (Asia Art Archive, Hong Kong China)
AAAC (Asian American Arts Center, New York City U.S.A.)
Widewalls.ch (World leading Contemporary and Urban Arts database)
Permanet Collection:
The Graphic Arts Loan Collection (GALC), University of California, Berkeley
Faculty:
UC Berkeley Extension, SF
School of Visual Arts, NYC
Maryland Institute College of Arts
Tyler School of Arts, Temple University
The Art Institute
Founder of:
Guo Hua Modernist Movement 國畫型人
Silicon Valley Art and Technology Meetup
Asia Team Behance (Adobe) & Asia Team Magazine Publication
Book publications:
Between Tradition & Modernity: The Contemporary Traditional Art of of Anita Yan Wong, 2021
Ink kittens: The "Contemporary Traditional" feline paintings by Anita Yan Wong, 2020
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Testimonials:
"Anita Yan Wong is a multi media artist who uses her passion for nature and her art to capture the beauty and mystery of the world we must save. She does this not with a heavy hand of warnings, but with whimsy and surprise, transcending time and promising the possibility of a future of hope."
– Paul R. Ehrlich, Bing Professor of Population Studies Emeritus; President, Center for Conservation Biology; Department of Biology, Stanford University, Stanford, CA
"Living in the Bay Area, Anita Wong’s commitment to a traditional form of
Chinese brush painting with its inherently inner quest is brave, to say the
least, where the artworld's attention - as with so much else - is focused
on spectacle, celebrity and blue chip investment."
– Richard Whittaker, Founder & Editor, Works & Conversations Magazine
"Anita is unafraid to see unusual connections – for example Louise Bourgeois‘ Spider sculptures and the blank inkiness of Chinese painting, the daring and innovation of her work is not always obvious."
– Isla Phillips, Art, Archaeology and the Roman poet Ovid specialist, University of Cambridge; Editor, Daily Art Magazine
"Traditional art form that questions the modern minds" – Zishi Li, Editor, Yale University China Hand magazine
"Anita Wong defies Tradition and Modernity in her latest painting series" – Justin Fang, Editor, Amadeus magazine
"Brilliant, seemingly alive ink paintings" – Zach Tutor, Curator & Editor, Supersonic Art, Juxtapoz & Hi-Fructose magazine
"Anita Yan Wong is a multi media artist who uses her passion for nature and her art to capture the beauty and mystery of the world we must save. She does this not with a heavy hand of warnings, but with whimsy and surprise, transcending time and promising the possibility of a future of hope."
– Paul R. Ehrlich, Bing Professor of Population Studies Emeritus; President, Center for Conservation Biology; Department of Biology, Stanford University, Stanford, CA
"Living in the Bay Area, Anita Wong’s commitment to a traditional form of
Chinese brush painting with its inherently inner quest is brave, to say the
least, where the artworld's attention - as with so much else - is focused
on spectacle, celebrity and blue chip investment."
– Richard Whittaker, Founder & Editor, Works & Conversations Magazine
"Anita is unafraid to see unusual connections – for example Louise Bourgeois‘ Spider sculptures and the blank inkiness of Chinese painting, the daring and innovation of her work is not always obvious."
– Isla Phillips, Art, Archaeology and the Roman poet Ovid specialist, University of Cambridge; Editor, Daily Art Magazine
"Traditional art form that questions the modern minds" – Zishi Li, Editor, Yale University China Hand magazine
"Anita Wong defies Tradition and Modernity in her latest painting series" – Justin Fang, Editor, Amadeus magazine
"Brilliant, seemingly alive ink paintings" – Zach Tutor, Curator & Editor, Supersonic Art, Juxtapoz & Hi-Fructose magazine
Artist Bio
Anita Yan Wong, M.F.A., is an Asian American Women Artist best known for her expressive brush strokes and unique style of “Contemporary Traditional" paintings that defies tradition and modernity. The artist, living and taught at UC Berkeley S.F. extension California in recent years, is a 4th generation Lingnan painter (which originated in southern China in the late 19th century, known for the fusion of mastering modern Chinese, Japanese and Western painting approaches.). Wong worked as an art Professor for over 14 years at MICA, SVA and Temple University before returning to a sole focus on her art in 2015. Her works are currently featured Internationally on over 60 Traditional and Hip Cultural Blogs & Art Magazines including N.Y. Arts, ESPN, Disney Inc., Daily Arts Magazine, Flower Magazine, Art Dependence Magazine, My Modern Met, KTSF Channel 26 News Interview and a cover story of Works & Conversations 2017. The artist was awarded first place wall art by “Design within Reach” in Design Philadelphia Award; "Excellent Scholars" from Maryland Institute College of Art & "Teaching excellence honor" from the art Institute. Wong's work is researched by Academics; Art historians and Phd students Internationally, such as University of Naples L'Orientale, Italy and the Phd Department of history of art and archaeology, University of London. She has collaborated with MAHB, Stanford University with the goal of preserving Lingnan Guo Hua and the beauties in nature. Yale University's China Hands Magazine described her paintings as “Traditional art form that questions the modern minds.”
Education
Wong started traditional Lingnan Painting lessons at the age of five with Master painter Hsin Pengjiu – first female students of Chao Shao An and Pu Hsin-Yu (Aisin-Gioro Puru), cousin of Pu Yi, the last emperor of China. The artist received her first western art education – B.A. (Honors) in Graphic Design from Central Saint Martins, University of the Arts London after graduating from Hong Kong Polytechnic University Art and Design department; her M.F.A. and M.A. in Digital Photography and Digital Arts from Maryland Institute College of Art. Wong served as a electronic media and cultural professor for over fourteen years before returning to a sole focus on her art in 2015. During this time, she was awarded Excellence Scholars from Maryland Institute College of Art and “Teaching excellence honor” from the Art Institute. Throughout the years the artist took part in an array of non profit artistic projects around the world including Baltimore international rhythm festival, Academy of Natural History Museum insects show and Action AIDS. With her cross platforms interest like film and electronic media – she has also served as a guest speaker for many events, including film and television director Bob Giraldi (best known for the creator of Michael Jackson music video).
Wong started traditional Lingnan Painting lessons at the age of five with Master painter Hsin Pengjiu – first female students of Chao Shao An and Pu Hsin-Yu (Aisin-Gioro Puru), cousin of Pu Yi, the last emperor of China. The artist received her first western art education – B.A. (Honors) in Graphic Design from Central Saint Martins, University of the Arts London after graduating from Hong Kong Polytechnic University Art and Design department; her M.F.A. and M.A. in Digital Photography and Digital Arts from Maryland Institute College of Art. Wong served as a electronic media and cultural professor for over fourteen years before returning to a sole focus on her art in 2015. During this time, she was awarded Excellence Scholars from Maryland Institute College of Art and “Teaching excellence honor” from the Art Institute. Throughout the years the artist took part in an array of non profit artistic projects around the world including Baltimore international rhythm festival, Academy of Natural History Museum insects show and Action AIDS. With her cross platforms interest like film and electronic media – she has also served as a guest speaker for many events, including film and television director Bob Giraldi (best known for the creator of Michael Jackson music video).
Current Lingnan School of Painting
“Balancing Chinese and foreign, blending ancient and modern (折衷中外、融會古今)” – the revolutionary slogan by three founders of Lingnan School of painting. Gao Jianfu (高劍父, 1879–1951), Gao Qifeng (高奇峰, 1889–1933), and Chen Shuren (陳樹人, 1884–1948)
"My life as a Millennials is different than the last generation of Lingnan painters – the world is becoming smaller and I like to think that the slogan by the founding fathers is no longer just a statement to inspire –. Growing up in Beijing, Hong Kong, London and the U.S.; having the opportunity to experience higher art educations in both west and east made me question if Lingnan art is behind the current state of Arts in the informational age. I was lost as an artist for a long time– the new generation no longer appreciate traditional arts in the contemporary art age; the art world pushed traditional artist with art sales and many followed trends during our time. During the moments of solitude, I often look up to the founding fathers for their revolutionary innovation in art during their time and wonder why Lingnan no longer match the current image of what is Contemporary in Arts. I would like to create arts that inspire the young mind again by truly carrying out the essence of Lingnan –Balancing Chinese and foreign, blending ancient and modern. Not to be afraid of being judged and push Lingnan art to another level that reflects the current time and inspire the viewers again with this beautiful art form." – artist reflections 2019
Subjects & Style
Nature is the main inspiration for the artist who equally admires works by French Impressionist Claude Monet and the beautiful and expressive brush works found in Asian rice paper paintings. With her background in creating moving imagery, Anita explores the movements of subjects and passage of time with her fast moving brush, which is why animals and natural elements represent recurrent topics in her work. Seemingly alive– cats and birds in full flight experience a certain level of abstraction but still retain their natural appeal. Perception is also recurrent topic in her paintings as the artist tries to explore various ways individuals perceive her imagery. Inspired by Duchamp, Wong believes her Contemporary Traditional paintings is not only intended to please the eye, instead it could be used as a tool to serve the mind. The artist have started the Contemporary Traditional art movement with her pupils @ UC Berkeley extension – Guo Hua Modernist Movement 國畫型人 with the goal of inspiring the generation Z to practice Contemporary Traditional Arts in the digital age.
“Balancing Chinese and foreign, blending ancient and modern (折衷中外、融會古今)” – the revolutionary slogan by three founders of Lingnan School of painting. Gao Jianfu (高劍父, 1879–1951), Gao Qifeng (高奇峰, 1889–1933), and Chen Shuren (陳樹人, 1884–1948)
"My life as a Millennials is different than the last generation of Lingnan painters – the world is becoming smaller and I like to think that the slogan by the founding fathers is no longer just a statement to inspire –. Growing up in Beijing, Hong Kong, London and the U.S.; having the opportunity to experience higher art educations in both west and east made me question if Lingnan art is behind the current state of Arts in the informational age. I was lost as an artist for a long time– the new generation no longer appreciate traditional arts in the contemporary art age; the art world pushed traditional artist with art sales and many followed trends during our time. During the moments of solitude, I often look up to the founding fathers for their revolutionary innovation in art during their time and wonder why Lingnan no longer match the current image of what is Contemporary in Arts. I would like to create arts that inspire the young mind again by truly carrying out the essence of Lingnan –Balancing Chinese and foreign, blending ancient and modern. Not to be afraid of being judged and push Lingnan art to another level that reflects the current time and inspire the viewers again with this beautiful art form." – artist reflections 2019
Subjects & Style
Nature is the main inspiration for the artist who equally admires works by French Impressionist Claude Monet and the beautiful and expressive brush works found in Asian rice paper paintings. With her background in creating moving imagery, Anita explores the movements of subjects and passage of time with her fast moving brush, which is why animals and natural elements represent recurrent topics in her work. Seemingly alive– cats and birds in full flight experience a certain level of abstraction but still retain their natural appeal. Perception is also recurrent topic in her paintings as the artist tries to explore various ways individuals perceive her imagery. Inspired by Duchamp, Wong believes her Contemporary Traditional paintings is not only intended to please the eye, instead it could be used as a tool to serve the mind. The artist have started the Contemporary Traditional art movement with her pupils @ UC Berkeley extension – Guo Hua Modernist Movement 國畫型人 with the goal of inspiring the generation Z to practice Contemporary Traditional Arts in the digital age.
Artist Statement
My current works have been dealing with the role of Contemporary Traditional art form and brush works (in particular pushing the boundaries of Traditional Lingnan Style Chinese Painting to the next level) in the Information age. My current painting series –"ink kittens" explores painting as making calligraphy, complete without sketch nor eraser. I see "Bi" as my handwritings, an expression highly individual. Freehand brushworks and Happy little accidents I create with ink and brush identify me– they serves as a medium for me to convey my emotions and meanings of the subject. Pure ink and movement shown in my paintings different my current style from the usually colored Lingnan style.
Older works like "Rorschach", 2016 for example, offers the viewer a Rorschach test, which invites them to question openly on what the individual sees of traditional art in the digital age. This invitation lets the viewer see art with not just the eyes but also the mind. It allows an old ancient art form to question the modern minds. My 2016 painting series “Preserve” uses pins to preserve real insects and objects found in nature reflects my ultimate goal: Preserving the beauty from nature and the ancient art form of Lingnan Guo hua (The National Art of China during 19th century). Both Traditional and Hip Cultural; Western and Eastern Arts reflects who I am and plays a key role in my art creation. My ultimate dream as an artist is to continue developing unique styles of "Contemporary traditional arts" that reflects our current time and speaks to viewers in the Millennium.
My current works have been dealing with the role of Contemporary Traditional art form and brush works (in particular pushing the boundaries of Traditional Lingnan Style Chinese Painting to the next level) in the Information age. My current painting series –"ink kittens" explores painting as making calligraphy, complete without sketch nor eraser. I see "Bi" as my handwritings, an expression highly individual. Freehand brushworks and Happy little accidents I create with ink and brush identify me– they serves as a medium for me to convey my emotions and meanings of the subject. Pure ink and movement shown in my paintings different my current style from the usually colored Lingnan style.
Older works like "Rorschach", 2016 for example, offers the viewer a Rorschach test, which invites them to question openly on what the individual sees of traditional art in the digital age. This invitation lets the viewer see art with not just the eyes but also the mind. It allows an old ancient art form to question the modern minds. My 2016 painting series “Preserve” uses pins to preserve real insects and objects found in nature reflects my ultimate goal: Preserving the beauty from nature and the ancient art form of Lingnan Guo hua (The National Art of China during 19th century). Both Traditional and Hip Cultural; Western and Eastern Arts reflects who I am and plays a key role in my art creation. My ultimate dream as an artist is to continue developing unique styles of "Contemporary traditional arts" that reflects our current time and speaks to viewers in the Millennium.
