1. Ai Weiwei: Artwork Analysis
Image:
Ai Weiwei with his work, Sunflower Seeds (2010):

2. Artistic Influences: Chinese Calligraphy and Scroll Painting
In his youth, Ai studied traditional Chinese art forms, including scrolls, landscapes, and calligraphy.
Images:
Mid-Autumn (中秋帖)Wang Xianzhi (王獻之, ), Jin Dynasty ( ):
Detail of Mid-Autumn (中秋帖)Wang Xianzhi (王獻之, ), Jin Dynasty ( ):
Mid-Autumn, Wang Xianzhi
Jin Dynasty ( CE)

3. Artistic Influences: Chinese Ceramics
Ai was also influenced by traditional Chinese ceramics and has utilized them in several of his works.
The ceramics shown here are from the Han Dynasty (206 BC-220 AD).
Images:
Han Dynasty
(206 BCE-220 CE) Ceramics

4. Artistic Influences: Pop Art
Brillo Box (1964) by Andy Warhol
Ai’s art is influenced by a wide range of sources. As a young artist living in New York ( ), Ai was influenced by many modern and contemporary American artists. He was particularly influenced by Pop Art and admired Andy Warhol, Robert Rauschenberg, and Jasper Johns. Some have even called Ai “The Chinese Andy Warhol.”
Images:
Ai Weiwei in front of Self-Portrait (1966) by Andy Warhol, on display at Andy Warhol's first MoMA, New York exhibition, a year after Warhol's death, From Ai Weiwei's Blog: Writings, Interviews, and Digital Rants , p.131. Courtesy the MIT Press:
Brillo Box, 1964, Andy Warhol:
Mao Tse Tung,1972, Andy Warhol:
References:
Camille, J J. (n.d.). At home with Ai Weiwei. Art in America. Retrieved from
Kilgannon, C. (2011). Before fame, or jail, Ai Weiwei was a ‘New York’ starving artist. The New York Times. Retrieved from  
Larson, C. (2012). Ai Weiwei on his favorite artists, living in New York and why the government is afraid of him. Smithsonian. Retrieved from
Mao Tse Tung (1972) by Andy Warhol
Ai Weiwei in 1988 in front of Andy Warhol’s
Self-Portrait (1966) at the Museum of Modern Art, New York

5. Artistic Influences: Conceptual Art
"It became like a symbolic thing, to be‘an artist.’ After Duchamp, I realized that being an artist is more about a lifestyle and attitude than producing some product." -Ai Weiwei
Marcel Duchamp’s Fountain (1917), (see left image) represents a break in Western art history This art work is a urinal that Duchamp chose to submit for an art show (and was initially rejected by the show’s organizers). He reoriented the urinal 90 degrees from its original intended use and signed it “R. Mutt” (the significance of this is disputed by various experts). At the time, this was controversial because it did not conform to the typical art of the time. It was a considered a “readymade” object (an everyday object with practical purposes, not “art”). However, the concept of the “readymade” eventually proved to be a very important concept in the history of art and is even said to have initiated postmodernism.
Images:
Fountain, 1917, Marcel Duchamp:
Marcel Duchamp:
Reference:
Smith, K,, Obrist, H. U., Fibicher, B. and Ai, W. (2009). Ai Weiwei: Phaidon Contemporary Artists Series. London: Phaidon Press.
Fountain (1917)
Marcel Duchamp

6. Artistic Influences: Installation Art
Untitled (Placebo) (1991),
Félix González-Torres
Ai is influenced by conceptual installation art. An example of installation art is this work by Cuban-American artist Félix González-Torres, Untitled (Placebo) (1991). This piece, which has been recreated in various ways, consisted of thousands of pieces of wrapped candy. As part of the exhibition, visitors were encouraged to take and eat the candy and the candy was continually replenished by museum staff. An installation such as this has multiple meanings. It is a response to the AIDS crisis and the death of González-Torres’ partner due to the disease. It can also be considered a metaphor for life and death. Additionally, the work lends itself to other interpretations based upon the perspectives of the viewers/participants. Note some of the similarities and differences between this work and Ai’s Sunflower Seeds (2010). For instance, like the candy in González-Torres’ work, Ai’s sunflower seeds appear edible (but they are not). Also, both works include large volumes of the same object.
Images:
Untitled (Placebo), 1991, Félix González-Torres:
Detail of Untitled (Placebo), 1991, Félix González-Torres:
References:
Curated Object. (n.d.). Exhibitions Williamstown. Felix Gonzalez-Torres "Untitled" (Placebo), The Williamstown Museum of Art. The Curated Object. Retrieved from
Randian. (2010, December 25). Ai Weiwei’s “Sunflower Seeds” at Tate Modern Turbine Hall. Randian. Retrieved from
Ai is influenced by conceptual installation art such as this work by Cuban-American artist Félix González-Torres

7. Artistic Influences: Art as Activism
Ai is strongly invested in the notion of art as a means of actively creating social change. Another artist whose work functions to create social change is Krzysztof Wodiczko.
Activist art (also sometimes called socially-engaged art) can take many forms, but it is primarily intended to bring about social, political, or economic justice. Ai is strongly invested in the notion of art as a means of actively creating social change.
Another artist who whose work functions to create social change is Krzysztof Wodiczko. Wodiczko created the Homeless Vehicle Project ( ). This work involved collaboration with the homeless community in New York to design vehicles that served as portable shelters. Further, as the homeless community members interacted with the vehicles, creating a “performance” that drew attention to the social issues involved in homelessness in New York.
Image:
Krzysztof Wodiczko’s Homeless Vehicle Project ( ), New York

8. Dropping a Han Dynasty Urn (1995)
By documenting himself dropping (and destroying) an urn from The Han Dynasty (206 BC – 220 AD), Ai references the Cultural Revolution in China ( ) when many ancient artifacts of Chinese culture were destroyed in an effort to further the aims of Mao Zedong’s Communist agenda. By dropping the urn deliberately, Ai intends to draw attention to these crimes. At the same time, Ai questions the reverence over the value of objects that are preserved by museums and considered “art.” Ai’s act of dropping the urn has been considered iconoclastic and disturbing to many in the art world. In this work, Ai simultaneously honors tradition and breaks with tradition. Some have even compared this work to that of Duchamp’s Fountain in its treatment of the concept of the art object.
Questions for Students: Dropping a Han Dynasty Urn (1995): What is Ai trying to say by dropping this ancient urn? Is the act of destroying the vase justified if it’s been done to call attention to repression? There is some question about the authenticity of the urn; would you feel differently about the work if the urn was not an ancient vase? As a viewer, are you complicit in the destruction of the historical artifact simply by the act of viewing the work?
Image:
Dropping a Han Dynasty Urn,1995, Ai Weiwei:
Video:
This video provides a brief analysis of Dropping a Han Dynasty Urn (1995) that also references Coca-Cola Vase (1994) and Colored Vases (2006).
Choices Program. (2013). Ai Weiwei, Dropping a Han Dynasty Urn, 1995 [Video]. Retrieved from
Reference:
Clark, G. (2011). Ai Weiwei-”Dropping the Urn”- But where is Weiwei today? Adobe Airstream [Web Page]. Retrieved from
Video-Ai Weiwei-Dropping a Han Dynasty Urn

9. Coca-Cola Vase (1994)
Utilizing many of the same concepts as Dropping a Han Dynasty Urn (1995), Coca-Cola Vase (1994) utilizes an ancient Chinese vase from the Neolithic Age ( BCE) and alters it with an icon of capitalism (a Coca-Cola logo).
Questions for Students: Coca-Cola Vase (1994): Why do you think Ai chose the Coca-Cola logo for this work? Compare this work with Dropping a Han Dynasty Urn; what are the similarities and differences? In 2012, a Swiss artist dropped Ai’s Coca-Cola Vase in the same manner as Ai did with his original work; how do you think Ai responded?
Image:
Coca Cola Vase, 1994, Vase from Neolithic Age (5000 – 3000 BCE) and paint, Ai Weiwei:

10. Colored Vases (2006)
Utilizing many of the same concepts as Dropping a Han Dynasty Urn (1995) and Coca-Cola Vase (1994) Colored Vases (2006) are ancient Chinese vases from the Neolithic Age ( BCE) painted over with brightly colored industrial paint.
Image:
Colored Vases (2006) Vases from the Neolithic age ( BCE) and industrial paint, Ai Weiwei:

11. Remembering (2009)
Remembering (2009) was created in response to the 2008 earthquake in China. Ai visited some of the sites of destruction (including schools) and was devastated by what he encountered. Ai Weiwei created this work from thousands of colorful backpacks (representative of the many children killed in the earthquake partly due to poor school construction). The text says: “She lived happily for seven years in this world.” This quote comes from a mother who lost her child in the earthquake. This work was displayed on the exterior of the Haus der Kunst museum in Munich, Germany. While this work is presented at a Western art museum, it references traditional Chinese art both with its scroll format and its use of Chinese calligraphy.
This is a quote from Ai Weiwei regarding these experiences:
“The idea to use backpacks came from my visit to Sichuan after the earthquake in May During the earthquake many schools collapsed. Thousands of young students lost their lives, and you could see bags and study material everywhere. Then you realize individual life, media, and the lives of the students are serving very different purposes. The lives of the students disappeared within the state propaganda, and very soon everybody will forget everything.”
Questions for Students: Remembering (2009): What do you see in this artwork?  This work is composed of backpacks.  Why do you think Ai chose to utilize back backs in this artwork?  The text of this work translated from Chinese to English is "She lived happily for seven years in this world."  This was a statement by a mother who lost her daughter in the 2008 Chinese earthquake.  Why do you think Ai chose to utilize these words in this artwork?  What is Ai trying to say in this artwork? What are some other monuments that you have encountered in your everyday life?  How does this monument compare to these other memorials?
Image:
Reference:
Khan Academy (n.d.). Ai Weiwei’s “Remembering” and the politics of dissent. Smart History. Retrieved from

12. Earthquake in Sichuan (2008-2010)
Ai used photography to also chronicle some of the damage from the 2008 earthquake in China, especially to schools built by the government. As part of his ongoing investigation into the consequences of the earthquake, Ai conducts painstaking research that culminates in a memorial listing the names of the dead as well as 3 hour, 41 minute voice recording in which the names of  the children are read off in Chinese. This presentation is viewed as insubordination of government authority. Ai is consequently assaulted by Chinese officers. It is later discovered that he had internal bleeding in his brain and required emergency surgery.
Images:
Ai Weiwei with the list of names of the dead from the earthquake:
Earthquake wreckage, photographed by Ai Weiwei:
Earthquake in Sichuan ( )

13. Untitled, 2011
Untitled (2011) is another installation that includes multiple backpacks as well as audio documentation of the names of the children who died in the earthquake.
Questions for Students: Untitled (2011): Each child killed in the 2008 earthquake is memorialized by a backpack in this work; do you think that this installation is more or less effective in this regard than Remembering? How is the organization and presentation of the backpacks significant? Ai titles most of his works; why do you think this one might be untitled?
Image:

14. Sunflower Seeds (2010)
Sunflower Seeds (2010) was an installation of 100 million hand-painted porcelain sunflower seeds. The work was initially presented so that people could walk over the seeds and touch the seeds, but was later closed off from public interaction and only available for observation. This work has multiple layers of meaning as the sunflower seed contains much symbolism for China. First of all, the sunflower seed is a popular snack in China. Further, the sunflower itself has been utilized as a symbol in propaganda images for the Chinese people under Mao Zedong’s Communist rule (Mao was presented as the sun and the people as sunflowers who faced the sun and thrived in the sun.) (See this site for an example: On another level, the production of these sunflowers draws attention to the concept of “Made in China,” whereby Chinese workers produce much of the world’s commodities, often in an exploitative way for Western consumers. The seeds, thus, represent not only these commodities, but also Chinese workers themselves in the context of the global marketplace. The seeds (and the workers, in the eyes of the West) are seemingly homogenous, yet upon closer examination, it is evident that each one is unique and carefully crafted.
Questions for Students: Imagine that you could walk through this exhibit, describe your experience. What do the sunflower seeds represent to you?
Images:
Sunflower Seeds, 2010, Ai Weiwei:
Sunflower Seeds, 2010, Ai Weiwei:
Sunflower Seeds, 2010, Ai Weiwei:
References:
Hancox, S. (n.d.). Art, activism, and the geopolitical imagination: Ai Weiwei’s ‘Sunflower Seeds.’ Academia [Web Page]. Retrieved from
Radio Free Asia. (2011). Seeds of change? Radio Free Asia [Web Page]. Retrieved from
Tate Modern. (2010). The Unilever Series: Ai Weiwei: Sunflower Seeds [Web Page]. Retrieved from

15. Video: Ai Weiwei: Sunflower Seeds
This video (which was played during the installation) further complicates notions of the “Made in China” phenomenon in regards to this art work. It documents the process by which the seeds were produced. They were hand made by 1600 Chinese artisans (who were paid just above Chinese minimum wages) over a period of 2 ½ years in the city of Jingdezhen (once considered the “Porcelain Capital” of China), but now struggling economically. Sunflower Seeds (2010) and the accompanying video draw attention to the complexities and injustices involved in the globalized marketplace.
Questions for Students: Sunflower Seeds (2010): Why do you think Ai chose sunflower seeds for this work? Hundreds of workers were involved in making the millions of individual seeds for this work; might that be considered at odds with Ai’s tension with capitalism? As an art consumer, how might your experience be different if you were allowed to walk on and interact with this work (as opposed to viewing it from behind a rope, as in the photos)? What are your thoughts regarding the production of the millions of porcelain sunflower seeds for this art work? How do you think this art work might be interpreted differently if it were presented in China?
Image:
Video from Slide:
Tate Modern. (2010). Ai Weiwei: Sunflower Seeds. Retrieved from
Additional Video:
Tate Modern. (2010). Ai Weiwei’s Sunflower Seeds at the Tate. Retrieved from
Reference:
Hancox, S. (n.d.). Art, activism, and the geopolitical imagination: Ai Weiwei’s ‘Sunflower Seeds.’ Academia. Retrieved from
Video: Ai Weiwei: Sunflower Seeds

16. The Black Cover Book, 1994
After spending twelve years in the New York art scene, Ai returned to China in Some of the first works he completed upon this return to China were The Black Cover Book (1994), The White Cover Book (1995), and The Grey Cover Book (1997). These books were created in response to Chinese governmental censorship of modern and contemporary Western art. They function as art history textbooks as well as emblems of resistance towards the censorship of art. Ai published 3,000 copies of each book, sharing them with artists throughout China. They were among the first texts published in Chinese regarding American artists of the late 20th century such as Jeff Koons, Barbara Kruger, and Jenny Holzer.
Image:
The Black Cover Book, 1994, Ai Weiwei:
Reference:
Museum of Modern Art. (n.d.). Ai Weiwei. Retrieved from

17. The White Cover Book, 1995 Image:
The White Cover Book, 1995, Ai Weiwei:

18. The Grey Cover Book, 1997
Questions for Students: The Black Cover Book (1994), The White Cover Book (1995), & The Grey Cover Book (1997): Examine the pages of these books; what do you notice about them?  What does the design of the books tell you about them? Why do you think Ai chose to create these books? What are some examples of censorship in contemporary U.S. society? Consider other "banned" books or controversial works of art.  What makes them controversial?  Many of the artworks in Ai's books were not considered controversial in the U.S., but were in China. What might make something controversial or worthy of censorship?
Image:
The Grey Cover Book, 1997, Ai Weiwei:

19. Weiwei-isms (2012) Quotations from Ai Weiwei
Weiwei-isms (2012), edited by Larry Walsh includes multiple quotations from Ai Weiwei drawn from writings, interviews, and online posts.
Images:
Weiwei-isms, 2012, Ai Weiwei:
“Everything is art, everything is politics.” –Ai Weiwei

20. Reference to Mao’s Little Red Book
Weiwei-isms (2012) references Mao Zedong’s “Little Red Book,” “Quotations from Chairman Mao Tse-Tung,” a collection of sayings that function as both inspiration and communist propaganda.
“In the world today all culture, all literature and art belong to definite classes and are geared to definite political lines. There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics.”-Mao Zedong
Images:
Mao’s Little Red Book:
Propaganda Image with Little Red Book:
Reference:
Zedong, M. (1947). Talks at the Yenan Forum on Literature and Art (May 1942). In Selected Works, Vol. III. Retrieved from
“In the world today all culture, all literature and art belong to definite classes and are geared to definite political lines. There is in fact no such thing as art for art's sake, art that stands above classes, art that is detached from or independent of politics.”-Mao Zedong