Winnie Wong is a Junior Fellow of the Harvard Society of Fellows, working in the field of Art History. She specializes in transnational issues in authorship, authenticity, and copying, with a focus on modern and contemporary interactions between China and the West. Her work draws from several fields of inquiry including visual and material culture, new media, anthropology, urban and social history, trade and commercial history, and intellectual property law. Wong holds a BA as an interdisciplinary Senior Fellow of Dartmouth College (’00), and a SM (’02) and PhD (’10) from MIT in the History, Theory and Criticism of Architecture and Art. Her first book, After the Copy: China and the Readymade is forthcoming in Fall 2013 from the University of Chicago Press. This book is a critical account of global contemporary art made in Dafen Oil Painting Village in Shenzhen, China. Wong is currently at work on her second monograph project, At Originality’s Boundaries, a new art history of Chinese export painting (1760-1842). This account of the painters and merchants of the Canton port in the maritime trade will explore artistic labor and authorship in Chinese export oil painting, theories of Western originality, and the transnational prehistory of copyright. Wong is the translator of Hong Kong novelist Dung Kai-Cheung’s The Catalog, and Beijing conceptual artist Xiao Xiong’s Enter and Exit. Her essays and articles on contemporary art have been translated into German, Romanian, Chinese and Portuguese, and have recently appeared in academic and art journals including Art World, the Chicago Art Journal, and the Journal of Visual Culture.
Wong is a speaker in the Panel: The Country.