Lithograph on Rives BFK paper - Sheet: 43 1/4 x 31 1/2 in. (109.8 x 80 cm)
Yue Minjun’s Untitled (Smile-ism No. 9) (2006) is a lithograph that epitomizes his signature surrealism and exploration of human expression. In this work, two large, pale hands form a frame around a small, seated figure, who mirrors the smile and gestures often seen in Minjun’s other self-referential pieces. The hands dominate the foreground, while the figure within the “frame” appears isolated, accentuating a sense of introspection and irony. Known for his exaggerated, laughing self-portraits, Minjun’s work often critiques social and existential themes. The subtle color palette and the expression of the isolated figure evoke a contemplative atmosphere. Printed on Rives BFK paper, the sheet measures 109.8 x 80 cm and is part of a limited edition of 45.
Yue Minjun (China, 1962) is a renowned contemporary artist celebrated for his satirical self-portraits featuring exaggerated laughter. His works, rooted in Cynical Realism, critique societal norms and political issues with humor and irony. Using bold colors and repetitive imagery, Yue’s paintings are iconic representations of post-Tiananmen Chinese art.
LithographLithography is a printing method based on the principle that water and oil do not mix. It can be used to print artwork or text onto paper or other suitable materials. Traditionally, an image was drawn with wax, fat, or oil onto a lithographic limestone surface or plate. Today, metal plates and other surfaces are also used in lithographic printing.
Lithograph on Rives BFK paper - Sheet: 43 1/4 x 31 1/2 in. (109.8 x 80 cm)
Yue Minjun’s Untitled (Smile-ism No. 9) (2006) is a lithograph that epitomizes his signature surrealism and exploration of human expression. In this work, two large, pale hands form a frame around a small, seated figure, who mirrors the smile and gestures often seen in Minjun’s other self-referential pieces. The hands dominate the foreground, while the figure within the “frame” appears isolated, accentuating a sense of introspection and irony. Known for his exaggerated, laughing self-portraits, Minjun’s work often critiques social and existential themes. The subtle color palette and the expression of the isolated figure evoke a contemplative atmosphere. Printed on Rives BFK paper, the sheet measures 109.8 x 80 cm and is part of a limited edition of 45.
Yue Minjun (China, 1962) is a renowned contemporary artist celebrated for his satirical self-portraits featuring exaggerated laughter. His works, rooted in Cynical Realism, critique societal norms and political issues with humor and irony. Using bold colors and repetitive imagery, Yue’s paintings are iconic representations of post-Tiananmen Chinese art.
I’m actually trying to make sense of the world.
- Yue Minjun
Yue Minjun is a contemporary Chinese artist who works in Beijing. He is most widely known for his oil paintings that show himself laughing in a variety of different settings. He has also copied this image in watercolor, prints and sculpture. Critics have labeled him a part of the "Cynical Realism" movement in China, although he has distanced himself from that group personally. Yue Minjun takes his inspiration from the work of Geng Jianyi, who had used his own laughing visage as a central focus in his work. Yue studied painting from 1985 to 1989 at Hebei Normal University. Yue Minjun’s work has appeared in many galleries in Beijing, Hong Kong and Singapore. His work Executiondrew the highest price of any Chinese contemporary artwork ever when it went for US$5.9 million at Sotheby's in London. By 2007, 13 of his paintings had sold for more than US$1 million. His "Hat" series remains one of his most widely admired.
Appropriation in art involves using pre-existing images or objects with little or no modification. This technique has played a significant role across various art forms, including visual arts, music, performance, and literature. In visual arts, appropriation refers to the practice of adopting, sampling, recycling, or borrowing elements—or even entire forms—of existing visual culture, integrating them into new works to create meaning or critique.