Cui Guo’An is seen as an established artist, Cui Guo’An was born in 1946. Artists born in the same year and of the same generation are Antonio Castellanos, Magne Austad, Lubomir Arzt, Eva Affolter, and Sabatino Abate.
Further Biographical Context for Cui Guo’An
Cui Guo’An was born in 1946 and was primarily inspired by the 1960s growing up. The 1960s were a sensational decade internationally, bearing witness to proliferation of modernist ideas and trends. It was the era of Kennedy and Kruschev, and the beginning of the Cold War, which would endure for most of the second half of the twentieth century, and was characterised most symbolically by the construction of the Berlin Wall in 1961. The Iron Curtain divided Eastern and Western Europe, both ideologically and literally, and student political uprisings took place across the globe. Psychedelia, an vast increase in consumerism, and the associated trends of marketing and advertising further epitomised the era. Minimalism developed a formal language with no external references, focused solely on line, colour and geometric form as key elements of both painting and sculpture. The significant figures of Minimalism included Frank Stella, Donald Judd and Agnes Martin. Colour Field painting, as practiced by Morris Louis, Kenneth Noland and Helen Frankenthaler, further developed some of the expressive notions of Abstract Expressionism, but stripped away much of the rhetoric, instead approaching a more rule-based approach to surface and colour that related this practice to Minimalism. Around the world a number of artistic movements echoed the artistic concerns of the above mentioned movements, often with regional specialisms and nuance. In Italy, Lucio Fontana and Piero Manzoni established Spatialism, and in Germany the Zero group under the leadership of Gunter Uecker adopted similar ideas. The influential school of Existentialist Philosophy was an important source of inspiration for creatives, with artists like Francis Bacon and Alberto Giacometti achieving international prominence for their idiosyncratic approaches to the human form and the angst related to the human condition.