by Renee Yu Jin and Haebin Koh
This conversation took place prior to Professor Wong’s lecture in the Humanities Center, structured as both an interview and a graduate student workshop. The interview was led by Visual and Cultural Studies (VCS) PhD student Renee Yu Jin, with participation from Michalina Czubak and Ophelia Adams from Literary Translation program. The conversation engaged topics such as Wong’s forthcoming book project on naming and unnaming, the asymmetries of canonical forms of art, and the varied mediations through which copies circulate and accrue value. It also explored language as both a tool of imperial power and a site of cultural negotiation, while reflecting on the epistemological gap between historiography and ethnography. The dialogue concluded with reflections on pedagogy and the stakes of teaching within interdisciplinary expectations.
in Invisible Culture: a Journal for Visual Culture, 2025
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by Anne Brice
Fakes, replicas and forgeries: What counts as art?In the early 2000s, UC Berkeley rhetoric professor Winnie Wong visited Dafen village in China, where artists painted replicas of famous pieces like the Mona Lisa and Starry Night. It dramatically changed how she thinks about art and those who make it.
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Art Imitates Art
Producer Vivian Le spoke with Winnie Wong, author of Van Gogh on Demand: China and the Readymade; Philip Tinari, CEO of the UCCA Center for Contemporary Art in Beijing; June Wang, Associate Professor in the Department of Public Policy at the City University of Hong Kong; Chris Shi, owner of Shenzhen Mega Art; Eddie Colla, mixed-media artist.
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Kunstverein Hildesheim
In unserer finalen Folge tauchen wir tief in die Welt von Dafen ein, indem wir auf das ExpertInnenwissen der Kunsthistorikerin Dr. Winnie Wong zurückgreifen. Zudem werfen wir einen Blick auf die studentische Themenausstellung „Unsigned“ im Puls und den Film „China's Van Goghs“ von Kiki Tianqui Yu und Yu Haibo, der im Rahmen der Finissage von „Unsigned“gezeigt wurde.
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with Lauren-Zöe Humphreys, Amy Hanser, & Sohl Lee
IDRF fellows discuss Winnie Won Yin Wong’s book Van Gogh on Demand: China and the Readymade (University of Chicago Press, 2014), based on research conducted during her International Dissertation Research Fellowship. Van Gogh on Demand was the winner of the 2015 Joseph Levenson Book Prize.
in items: Insights from the Social Sciences, 2016
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Counterfeiting: Fake art and fake medicines – why are there such lucrative markets in both?
Modern art expert Philip Hook: The fine art of authentication
Art historian Winnie Wong: When is a copyist painter not a forger?
60 Second Idea: No more weeping on TV please!
Bright Simons: How can fake medicines be combated?
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Hosted by Carla Nappi
Van Gogh on Demand: China and the Readymade
Reading Winnie Wong's new book on image production in Dafen village will likely change the way you think about copying, China, and the relationship between them. Based on fieldwork that included artist interviews, studio visits, and participant observation alongside local officials, bosses, interpreters, foreign artists, buyers, and traders, Van Gogh on Demand: China and the Readymade (University of Chicago Press, 2014) takes readers into the production of images in a village in Shenzhen.
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Fast Masters: An Interview with Winnie Wong
by James Hughes
In 1992, Wu Ruiqiu spread his paintings on a sidewalk in Guangzhou, the capital city of the Guangdong province of China. A stranger approached him and placed an unbelievable order: four hundred thousand paintings, to be delivered in fifty days. According to Wu, the client was Walmart, and the order, as the legend goes, was filled.
in the Believer, 2013
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