Upon her first visit to Dafen Oil Painting Village in 2006, Winnie Wong, then a graduate student in art history at MIT, encountered an environment far removed from the mass production factory she had envisioned. Instead of finding assembly-line painters churning out replicas of famous artworks, Wong discovered a vibrant community of artists with diverse backgrounds and motivations. Her research into this village's artistic practices led her to publish "van Gogh on Demand: China and the Readymade" in 2013. This book delves into the Western perception of Chinese mass-produced goods and challenges stereotypes about creativity and authenticity.

Dafen Oil Painting Village is not alone in its operations; similar setups exist worldwide, including in Italy, South Korea, Brazil, and even within the United States. Wong spent six years immersed in Dafen, working as an apprentice and interviewing over 200 painters. She found that the relationship between these artists and their work varies significantly. Some view it purely as commerce, while others see it as a pathway to personal artistic expression. Wong’s experiences in Dafen reshaped her understanding of art replication, leading her to explore broader questions about authenticity and the nature of art itself.

The Artistic Tapestry of Dafen Village

Dafen Oil Painting Village defies conventional expectations of mass production. Rather than operating as a monolithic factory, it functions more like a collective of independent artists. Wong observed that most painters were migrant workers who moved in and out of jobs, bringing varied educational and artistic backgrounds. Despite the absence of institutional frameworks, these artists created works ranging from replicas of iconic paintings to custom pieces based on photographs. This diversity challenged Wong's preconceived notions about art and its creation.

Wong's immersion in Dafen revealed a rich tapestry of artistic practice. She worked as an apprentice in a van Gogh studio for two years, gaining insights into the training methods employed there. Through interviews, Wong learned that many painters approached their craft with philosophical pragmatism, viewing it either as a business or as a means to pursue personal dreams. For instance, one painter started as a farmer before becoming a successful gallery owner. His attitude towards copying reflected a post-modernist perspective, likening his work to Andy Warhol's approach. These interactions highlighted how Dafen artists navigate complex realities that transcend simplistic dichotomies of good versus bad art.

Redefining Authenticity and Creativity

Wong's time in Dafen prompted her to rethink traditional concepts of authenticity and creativity. Unlike the Western art world, which often shrouds its processes in layers of institutional value, Dafen operates with remarkable transparency. Here, artists openly discuss their work without pretense, acknowledging both commercial and artistic dimensions. Wong argues that this openness reveals greater similarities between successful artists and those accused of forgery than previously imagined, particularly in their shared contemplation of what constitutes art.

In her Berkeley class on imitations, appropriations, and replicas, Wong explores historical scandals involving forgery. One notable case involves the painting "Riverbank," attributed to the 10th-century master Dong Yuan but suspected by some to be a forgery by Zhang Daqian. Wong emphasizes that such controversies underscore the fluid boundaries between originality and imitation. Furthermore, her students' research into modern-day scandals, such as exact Instagram copies, illustrates the evolving complexities surrounding copying in digital age. As artificial intelligence advances, Wong's research gains renewed relevance, challenging us to reconsider what we deem real or legitimate art amidst technological advancements.